To reads

‘Locked-in syndrome: paralysed from head to toe, the patient, his mind intact, is imprisoned inside his own body, unable to speak or move. In my case, blinking my left eyelid is my only means of communication.’In December 1995, Jean-Dominique Bauby, editor-in-chief of French ‘Elle’ and the father of two young children, suffered a massive stroke and found himself paralysed and speechless, but entirely conscious, trapped by what doctors call ‘locked-in syndrome’. Using his only functioning muscle – his left eyelid – he began dictating this remarkable story, painstakingly spelling it out letter by letter.His book offers a haunting, harrowing look inside the cruel prison of locked-in syndrome, but it is also a triumph of the human spirit.

The shocking thing about the girls was how nearly normal they seemed when their mother let them out for the one and only date of their lives. Twenty years on, their enigmatic personalities are embalmed in the memories of the boys who worshipped them and who now recall their shared adolescence: the brassiere draped over a crucifix belonging to the promiscuous Lux; the sisters' breathtaking appearance on the night of the dance; and the sultry, sleepy street across which they watched a family disintegrate and fragile lives disappear.

David Sedaris plays in the snow with his sisters. He goes on vacation with his family. He gets a job selling drinks. He attends his brother’s wedding. He mops his sister’s floor. He gives directions to a lost traveler. He eats a hamburger. He has his blood sugar tested. It all sounds so normal, doesn’t it? In his newest collection of essays, David Sedaris lifts the corner of ordinary life, revealing the absurdity teeming below its surface. His world is alive with obscure desires and hidden motives — a world where forgiveness is automatic and an argument can be the highest form of love. Dress Your Family in Corduroy and Denim is another unforgettable collection from one of the wittiest and most original writers at work today.--davidsedarisbooks.com

With ravishing beauty and unsettling intelligence, Michael Ondaatje's Booker Prize-winning novel traces the intersection of four damaged lives in an Italian villa at the end of World War II. Hana, the exhausted nurse; the maimed thief, Caravaggio; the wary sapper, Kip: each is haunted by the riddle of the English patient, the nameless, burned man who lies in an upstairs room and whose memories of passion, betrayal, and rescue illuminate this book like flashes of heat lightning.

I am extremely moved by this book, it is as relevant and important today as it was when it was first published over 30 years ago, possibly even more so. Maus tells the story of Vladek Spielgeman, a Jewish survivor of the Holocaust. His son, Art Spiegelman, is an illustrator and wants to write the story of his father's experiences during World War II. The story is also of Art himself, the interviews and relationship with his father. The story alternates between the present day interviews and shifts into the past through Vladek's recollections. The illustrations are straightforward and in a black-and-white style. I highly recommend this book, it is a powerful and emotional story. I am starting the second volume right away. FINAL NOTE: below is what I found to be one of the most powerful scenes in the book.

A gallery attendant at the Hermitage. A young jazz buff in Tokyo. A crooked British lawyer in Hong Kong. A disc jockey in Manhattan. A physicist in Ireland. An elderly woman running a tea shack in rural China. A cult-controlled terrorist in Okinawa. A musician in London. A transmigrating spirit in Mongolia. What is the common thread of coincidence or destiny that connects the lives of these nine souls in nine far-flung countries, stretching across the globe from east to west? What pattern do their linked fates form through time and space?A writer of pyrotechnic virtuosity and profound compassion, a mind to which nothing human is alien, David Mitchell spins genres, cultures, and ideas like gossamer threads around and through these nine linked stories. Many forces bind these lives, but at root all involve the same universal longing for connection and transcendence, an axis of commonality that leads in two directions—to creation and to destruction. In the end, as lives converge with a fearful symmetry, Ghostwritten comes full circle, to a point at which a familiar idea—that whether the planet is vast or small is merely a matter of perspective—strikes home with the force of a new revelation. It marks the debut novel of a writer with astonishing gifts.

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.

Librarian's Note: An alternate cover edition can be found hereIn April, 1992, a young man from a well-to-do family hitchhiked to Alaska and walked alone into the wilderness north of Mt. McKinley. His name was Christopher Johnson McCandless. He had given $25,000 in savings to charity, abandoned his car and most of his possessions, burned all the cash in his wallet, and invented a new life for himself. Four months later, a party of moose hunters found his decomposed body. How McCandless came to die is the unforgettable story of Into the Wild.Immediately after graduating from college in 1991, McCandless had roamed through the West and Southwest on a vision quest like those made by his heroes Jack London and John Muir. In the Mojave Desert he abandoned his car, stripped it of its license plates, and burned all of his cash. He would give himself a new name, Alexander Supertramp, and, unencumbered by money and belongings, he would be free to wallow in the raw, unfiltered experiences that nature presented. Craving a blank spot on the map, McCandless simply threw away the maps. Leaving behind his desperate parents and sister, he vanished into the wild.

David Sedaris' move to Paris from New York inspired these hilarious pieces, including the title essay, about his attempts to learn French from a sadistic teacher who declares that every day spent with you is like having a caesarean section. His family is another inspiration. You Can't Kill the Rooster is a portrait of his brother, who talks incessant hip-hop slang to his bewildered father. And no one hones a finer fury in response to such modern annoyances as restaurant meals presented in ludicrous towers of food and cashiers with six-inch fingernails.

Jeannette Walls's memoir The Glass Castle was "nothing short of spectacular" (Entertainment Weekly). Now, in Half Broke Horses, she brings us the story of her grandmother, told in a first-person voice that is authentic, irresistible, and triumphant. "Those old cows knew trouble was coming before we did." So begins the story of Lily Casey Smith, Jeannette Walls's no nonsense, resourceful, and spectacularly compelling grandmother. By age six, Lily was helping her father break horses. At fifteen, she left home to teach in a frontier town -- riding five hundred miles on her pony, alone, to get to her job. She learned to drive a car ("I loved cars even more than I loved horses. They didn't need to be fed if they weren't working, and they didn't leave big piles of manure all over the place") and fly a plane. And, with her husband Jim, she ran a vast ranch in Arizona. She raised two children, one of whom is Jeannette's memorable mother, Rosemary Smith Walls, unforgettably portrayed in The Glass Castle. Lily survived tornadoes, droughts, floods, the Great Depression, and the most heartbreaking personal tragedy. She bristled at prejudice of all kinds -- against women, Native Americans, and anyone else who didn't fit the mold. Rosemary Smith Walls always told Jeannette that she was like her grandmother, and in this true-life novel, Jeannette Walls channels that kindred spirit. Half Broke Horses is Laura Ingalls Wilder for adults, as riveting and dramatic as Isak Dinesen's Out of Africa or Beryl Markham's West with the Night. Destined to become a classic, it will transfix audiences everywhere.

Rich in its stories, characters, and imaginative range, The Book of Laughter and Forgetting is the novel that brought Milan Kundera his first big international success in the late 1970's. Like all his work, it is valuable for far more than just its historical implications. In seven wonderfully integrated parts, different aspects of human existence are magnified and reduced, reordered and emphasized, newly examined, analyzed and experienced.

From the author of the phenomenal #1 New York Times bestseller Tuesdays with Morrie, a novel that explores the unexpected connections of our lives, and the idea that heaven is more than a place; it's an answer. Eddie is a wounded war veteran, an old man who has lived, in his mind, an uninspired life. His job is fixing rides at a seaside amusement park. On his 83rd birthday, a tragic accident kills him as he tries to save a little girl from a falling cart. He awakes in the afterlife, where he learns that heaven is not a destination. It's a place where your life is explained to you by five people, some of whom you knew, others who may have been strangers. One by one, from childhood to soldier to old age, Eddie's five people revisit their connections to him on earth, illuminating the mysteries of his "meaningless" life, and revealing the haunting secret behind the eternal question: "Why was I here?"

In Just Kids, Patti Smith's first book of prose, the legendary American artist offers a never-before-seen glimpse of her remarkable relationship with photographer Robert Mapplethorpe in the epochal days of New York City and the Chelsea Hotel in the late sixties and seventies. An honest and moving story of youth and friendship, Smith brings the same unique, lyrical quality to Just Kids as she has to the rest of her formidable body of work--from her influential 1975 album Horses to her visual art and poetry.

A short, sleek novel of encounters set in Tokyo during the witching hours between midnight and dawn, and every bit as gripping as Haruki Murakami’s masterworks The Wind-Up Bird Chronicle and Kafka on the Shore.At its center are two sisters—Eri, a fashion model slumbering her way into oblivion, and Mari, a young student soon led from solitary reading at an anonymous Denny’s toward people whose lives are radically alien to her own: a jazz trombonist who claims they’ve met before, a burly female “love hotel” manager and her maid staff, and a Chinese prostitute savagely brutalized by a businessman. These “night people” are haunted by secrets and needs that draw them together more powerfully than the differing circumstances that might keep them apart, and it soon becomes clear that Eri’s slumber—mysteriously tied to the businessman plagued by the mark of his crime—will either restore or annihilate her.After Dark moves from mesmerizing drama to metaphysical speculation, interweaving time and space as well as memory and perspective into a seamless exploration of human agency—the interplay between self-expression and empathy, between the power of observation and the scope of compassion and love. Murakami’s trademark humor, psychological insight, and grasp of spirit and morality are here distilled with an extraordinary, harmonious mastery.

Enzo knows he is different from other dogs: a philosopher with a nearly human soul (and an obsession with opposable thumbs), he has educated himself by watching television extensively, and by listening very closely to the words of his master, Denny Swift, an up-and-coming race car driver.Through Denny, Enzo has gained tremendous insight into the human condition, and he sees that life, like racing, isn't simply about going fast. On the eve of his death, Enzo takes stock of his life, recalling all that he and his family have been through.A heart-wrenching but deeply funny and ultimately uplifting story of family, love, loyalty, and hope, The Art of Racing in the Rain is a beautifully crafted and captivating look at the wonders and absurdities of human life ... as only a dog could tell it.

'When you read his extraordinary memoir you don't laugh, then cry, then laugh again; you somehow experience these emotions all at once.'"Well, this was when Bill was sighing a lot. He had decided that after our parents died he just didn't want any more fighting between what was left of us. He was twenty-four, Beth was twenty-three, I was twenty-one, Toph was eight, and all of us were so tried already, from that winter. So when something would come up, any little thing, some bill to pay or decision to make, he would just sigh, his eyes tired, his mouth in a sorry kind of smile. But Beth and I...Jesus, we were fighting with everyone, anyone, each other, with strangers at bars, anywhere -- we were angry people wanting to exact revenge. We came to California and we wanted everything, would take what was ours, anything within reach. And I decided that little Toph and I, he with his backward hat and long hair, living together in our little house in Berkeley, would be world-destroyers. We inherited each other and, we felt, a responsibility to reinvent everything, to scoff and re-create and drive fast while singing loudly and pounding the windows. It was a hopeless sort of exhilaration, a kind of arrogance born of fatalism, I guess, of the feeling that if you could lose a couple of parents in a month, then basically anything could happen, at any time -- all bullets bear your name, all cars are there to crush you, any balcony could give way; more disaster seemed only logical. And then, as in Dorothy's dream, all these people I grew up with were there, too, some of them orphans also, most but not all of us believing that what we had been given was extraordinary, that it was time to tear or break down, ruin, remake, take and devour. This was San Francisco, you know, and everyone had some dumb idea -- I mean, wicca? -- and no one there would tell you yours was doomed. Thus the public nudity, and this ridiculous magazine, and the Real World tryout, all this need, most of it disguised by sneering, but all driven by a hyper-awareness of this window, I guess, a few years when your muscles are taut, coiled up and vibrating. But what to do with the energy? I mean, when we drive, Toph and I, and we drive past people, standing on top of all these hills, part of me wants to stop the car and turn up the radio and have us all dance in formation, and part of me wants to run them all over."

Rarely does the debut of a new writer garner such attention & acclaim. The excitement began the moment "The Fourth State of Matter," one of the fourteen extraordinary personal narratives in this book, appeared in the pages of The New Yorker. It increased when the author received a prestigious Whiting Foundation Award in November 1997, & it continued as the hardcover edition of The Boys of My Youth sold out its first printing even before publication. The author writes with perfect pitch as she takes us through one woman's life -- from childhood to marriage & beyond -- & memorably captures the collision of youthful longing & the hard intransigences of time & fate.

The six stories in Haruki Murakami’s mesmerizing collection are set at the time of the catastrophic 1995 Kobe earthquake, when Japan became brutally aware of the fragility of its daily existence. But the upheavals that afflict Murakami’s characters are even deeper and more mysterious, emanating from a place where the human meets the inhuman. An electronics salesman who has been abruptly deserted by his wife agrees to deliver an enigmatic package—and is rewarded with a glimpse of his true nature. A man who has been raised to view himself as the son of God pursues a stranger who may or may not be his human father. A mild-mannered collection agent receives a visit from a giant talking frog who enlists his help in saving Tokyo from destruction. As haunting as dreams, as potent as oracles, the stories inAfter the Quake are further proof that Murakami is one of the most visionary writers at work today.Originally published in 2000 as:神の子どもたちはみな踊るKami no kodomo-tachi wa mina odoru