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A noir tour-de-force set in the world of hustlers from "one of America's darkest and funniest chroniclers." (The Guardian)

It's New York City, 1981, and everyone wants to be at the Emerson Club, from Cindy Crawford to Cindy Adams; from Famous Roger, one-time lion of the talk shows, to Sandy Miller, the “downtown” writer with the tattoos and the leather; from Lauren Hutton to the art star who does the thing with the poken plates. Everyone, that is, except Danny. Danny just works there, waiting tables to put himself through architecture school, turning tricks on the side. And when he’s not on the clock, he’s recording the sexual, aesthetic, and financial transactions that make up his life, in gruesome detail. But even a clever boy like Danny can wind up on the menu. Blinded by love for his fellow rent boy, Chip—as gorgeous as he is reckless—Danny is about to learn that there’s more than one way to turn your body into cash, and that cynicism is no defense when the real scalpels come out. A gimlet-eyed crime novel with an inventively filthy mind, Rent Boy is Gary Indiana at his most outrageous—and his best.

David Foster Wallace’s last unfinished work, a wise and unexpected tour de force “using the IRS the way Borges used the lipary and Kafka used the law-courts building: as an analogy for the world.” —John Jeremiah Sullivan, GQ

When David Foster Wallace died in 2008, he left behind a vast unfinished novel—some 1,100 pages of loose chapters, sketches, notes, and fragments. This material was collated and published in 2011 as The Pale King, which became a finalist for the Pulitzer Prize.

But the unfinished King did contain a finished novella that Wallace had already considered publishing as a stand-alone volume. It is the story of a young man, a self-described “wastoid,” adrift in the suburban Midwest of the 1970s, whose life is changed forever by an encounter with advanced tax law. It is, as Sarah McNally writes in her preface, “not just a complete story, but the best complete example we have of Wallace’s late style, where calm and poise replace the pyrotechnics of Infinite Jest and other early works.”

An instant bestseller when it was published anonymously in 1929, Ex-Wife is the story of a divorce and its aftermath that scandalized the Jazz Age—and still resonates today.

It's 1924, and Peter and Patricia have what looks to be a very modern marriage. Both drink. Both smoke. Both work, Patricia as a head copywriter at a major department store. When it comes to sex with other people, both believe in “the honesty policy.” Until they don‘t. Or, at least, until Peter doesn‘t—and a shell-shocked, lovesick Patricia finds herself starting out all over again, but this time around as a different kind of single woman: the ex-wife.

An instant bestseller when it was published anonymously in 1929, Ex-Wife captures the speakeasies, night clubs, and parties that defined Jazz Age New York—alongside the morning-after aspirin and calisthenics, the lunch-hour visits to the gym, the girl-talk, and the freedoms and anguish of solitude. It also casts a cool eye on the bedrooms and the doctor’s offices where, despite rising hemlines, the men still call the shots. The result is a unique view of what its author Ursula Parrott called “the era of the one-night stand”: an era very much like our own.

"Kennedy is not only a romantic but an anarchist." —Anita Brookner

Summer, 1947. A bizarre catastrophe rocks a seaside village in Cornwall when a cliff tumbles down on the Pendizack Manor Hotel. The hotel is obliterated, and seven guests are killed in the disaster. Everyone else makes a narrow escape. As the survivors tell their stories, the events of the previous week are revealed, and a parade of sins exposed. Gluttony, Lecherousness, Sloth, Pride, Covetousness, Envy and Wrath: all are in residence at Pendizack Manor, and as the day of the disaster creeps closer, it becomes clear that who’s spared and who’s lost might not be as arbitrary as first assumed.

A modern upstairs-downstairs comedy with an old-fashioned morality play tucked away inside, The Feast is sly, kaleidoscopic, and utterly ingenious, a novel that only Margaret Kennedy could have written.

The raw account of a life-altering affair in wartime London—“Han Suyin’s outstanding achievement . . . her finest novel.” (Alison Hennegan)

As a college student in London during the bitterly cold winter of 1944, Red falls in love with her married classmate Mara. Their affair unleashes a physical passion, a jealousy, and a sense of self-doubt that sweep all her previous experiences aside and will leave her changed forever. Set against the rubble of the bombed city, in a time of gray austerity and deprivation, Winter Love recalls a life at its most vivid. “Probably the best thing she has ever written” (Daily Telegraph), it is also Han Suyin’s most unexpected, tender, and stirring work.

Written in real time, as the Nazis consolidated their power over the winter of 1933, The Oppermanns captures the fall of Weimar Germany through the eyes of one bourgeois Jewish family, shocked and paralyzed by an ideology they cannot comprehend.

In the foment of Weimar-era Berlin, the Oppermann pothers represent tradition and stability. One pother oversees the furniture chain founded by their grandfather, one is an eminent surgeon, one a respected critic. They are rich, cultured, liberal, and public spirited, proud inheritors of the German enlightenment. They don’t see Hitler as a threat. Then, to their horror, the Nazis come to power, and the Oppermanns and their children are faced with the terrible decision of whether to adapt—if they can—flee, or try to fight.

Written in 1933, nearly in real time, The Oppermanns captures the day-to-day vertigo of watching a liberal democracy fall apart. As Joshua Cohen writes in his introduction to this new edition, it is “one of the last masterpieces of German-Jewish culture.” Prescient and chilling, it has lost none of its power today.