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**A New York Times top 100 Notable Book of the Year** Alexander Bruno is a man with expensive problems. Sporting a tuxedo and trotting the globe, he has spent his adult life as a professional gambler. His particular line of work: backgammon, at which he extracts large sums of money from men who think they can challenge his peerless acumen. In Singapore, his luck turned. Maybe it had something to do with the Blot – a black spot which has emerged to distort Bruno’s vision. It’s not showing any signs of going away. In fact, it’s spreading, and as Bruno extends his losing streak in Berlin, it becomes clinically clear that the Blot is the symptom of something terrible. There’s a surgeon who can help, an elite specialist, the only one in the world. But surgery is going to involve a lot of money, and worse: returning home. To the land of ‘bullying, psychosis and bad taste’ otherwise known as contemporary America. Specifically: the garish, hash-smoke streets of Berkeley, California. Here, the unseemly Keith Stolarsky – a childhood friend in possession of an empire of themed burger bars and thrift stores – is king. And he’s willing to help Bruno out. But there was always going to be a price.
The author of Motherless Brooklyn and The Fortress of Solitude returns with a devilishly entertaining novel about an international backgammon hustler who thinks he's psychic. Too bad about the tumor in his face. Handsome, impeccably tuxedoed Bruno Alexander travels the world winning large sums of money from amateur "whales" who think they can challenge his peerless acumen at backgammon. Fronted by his pasty, vampiric manager, Edgar Falk, Bruno arrives in Berlin after a troubling run of bad luck in Singapore. Perhaps it was the chance encounter with his crass childhood acquaintance Keith Stolarsky and his smoldering girlfriend Tira Harpaz. Or perhaps it was the emergence of a blot that distorts his vision so he has to look at the board sideways. Things don't go much better in Berlin. Bruno's flirtation with Madchen, the striking blonde he meets on the ferry, is inconclusive; the game at the unsettling Herr Kohler's mansion goes awry as his blot grows worse; he passes out and is sent to the local hospital, where he is given an extremely depressing diagnosis. Having run through Falk's money, Bruno turns to Stolarsky, who, for reasons of his own, agrees to fly Bruno to Berkeley, and to pay for the experimental surgery that might save his life. Berkeley, where Bruno discovered his psychic abilities, and to which he vowed never to return. Amidst the patchouli flashbacks and Anarchist gambits of the local scene, between Tira's come-ons and Keith's machinations, Bruno confronts two existential questions: Is the gambler being played by life? And what if you're telepathic but it doesn't do you any good?
**A New York Times top 100 Notable Book of the Year** Alexander Bruno is a man with expensive problems. Sporting a tuxedo and trotting the globe, he has spent his adult life as a professional gambler. His particular line of work: backgammon, at which he extracts large sums of money from men who think they can challenge his peerless acumen. In Singapore, his luck turned. Maybe it had something to do with the Blot - a black spot which has emerged to distort Bruno's vision. It's not showing any signs of going away. In fact, it's spreading, and as Bruno extends his losing streak in Berlin, it becomes clinically clear that the Blot is the symptom of something terrible. There's a surgeon who can help, an elite specialist, the only one in the world. But surgery is going to involve a lot of money, and worse: returning home. To the land of 'bullying, psychosis and bad taste' otherwise known as contemporary America. Specifically: the garish, hash-smoke streets of Berkeley, California. Here, the unseemly Keith Stolarsky - a childhood friend in possession of an empire of themed burger bars and thrift stores - is king. And he's willing to help Bruno out. But there was always going to be a price.
The Blot is an extended conversation between postmodern novelist Jonathan Lethem and cult theorist Laurence A. Rickels.
From the prize-winning author of Motherless Brooklyn, a daring, riotous, sweeping novel that spins the tale of two friends and their adventures in late 20th-century America. This is the story of two boys, Dylan Ebdus and Mingus Rude. They live in Brooklyn and are friends and neighbours; but since Dylan is white and Mingus is black, their friendship is not simple. This is the story of 1970s America, a time when the simplest decisions - what music you listen to, whether to speak to the kid in the seat next to you, whether to give up your lunch money - are laden with potential political, social and racial disaster. This is also the story of 1990s America, when nobody cared anymore. This is the story of what would happen if two teenaged boys obsessed with comic book heroes actually had superpowers: they would screw up their lives.
Lionel Essrog, a.k.a. the Human Freakshow, is a victim of Tourette's syndrome (an uncontrollable urge to shout out nonsense, touch every surface in reach, rearrange objects). Local tough guy Frank Minna hires the adolescent Lionel and three other orphans from St Vincent's Home for Boys and grooms them to become the Minna Men, a fly-by-night detective-agency-cum-limoservice. Then one terrible day Frank is murdered, and Lionel must become a real detective. With crackling dialogue, a dazzling evocation of place, and a plot which mimics Tourette's itself in its freshness and capacity to shock, Motherless Brooklyn is a bravura performance: funny, tense, touching, and extravagant.
The acclaimed New York Times bestselling author weaves an ingenious, darkly humorous, and brilliantly observant story that follows the exploits and intrigue of a constellation of characters affiliated with an off-off-off-off Broadway children’s musical. Mister Monkey—a screwball children’s musical about a playfully larcenous pet chimpanzee—is the kind of family favorite that survives far past its prime. Margot, who plays the chimp’s lawyer, knows the production is dreadful and bemoans the failure of her acting career. She’s settled into the drudgery of playing a humiliating part—until the day she receives a mysterious letter from an anonymous admirer . . . and later, in the middle of a performance, has a shocking encounter with Adam, the twelve-year-old who plays the title role. Francine Prose’s effervescent comedy is told from the viewpoints of wildly unreliable, seemingly disparate characters whose lives become deeply connected as the madcap narrative unfolds. There is Adam, whose looming adolescence informs his interpretation of his role; Edward, a young audience member who is candidly unimpressed with the play; Ray, the author of the novel on which the musical is based, who witnesses one of the most awkward first dates in literature; and even the eponymous Mister Monkey, the Monkey God himself. With her trademark wit and verve, Prose delves into humanity’s most profound mysteries: art, ambition, childhood, aging, and love. Startling and captivating, Mister Monkey is a breathtaking novel from a writer at the height of her craft.

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