Kirjahaku

PULITZER PRIZE FINALIST - From one of our most heralded writers comes the "poetic, disturbing, yet very funny" (The Washington Post Book World) life-and-death adventures of three misfit teenagers in the American desert. One of The Atlantic's Great American Novels of the Past 100 Years Alice, Corvus, and Annabel, each a motherless child, are an unlikely circle of friends. One filled with convictions, another with loss, the third with a worldly pragmatism, they traverse an air-conditioned landscape eccentric with signs and portents--from the preservation of the living dead in a nursing home to the presentation of the dead as living in a wildlife museum--accompanied by restless, confounded adults. A father lusts after his handsome gardener even as he's haunted (literally) by his dead wife; a heartbroken dog runs afoul of an angry neighbor; a young stroke victim drifts westward, his luck running from worse to awful; a sickly musician for whom Alice develops an attraction is drawn instead toward darker imaginings and solutions; and an aging big-game hunter finds spiritual renewal through his infatuation with an eight-year-old--the formidable Emily Bliss Pickless. With nature thoroughly routed and the ambiguities of existence on full display, life and death continue in directions both invisible and apparent. Gloriously funny and wonderfully serious, The Quick and the Dead limns the vagaries of love, the thirst for meaning, and the peculiar paths by which all creatures are led to their destiny. A panorama of contemporary life and an endlessly surprising tour de force: penetrating and magical, ominous and comic, this is the most astonishing book yet in Joy Williams's illustrious career. Joy Williams belongs, James Salter has written, "in the company of C line, Flannery O'Connor, and Margaret Atwood."

In her first novel since the Pulitzer Prize-nominated The Quick and the Dead, the legendary writer takes us into an uncertain landscape after an environmental apocalypse, a world in which only the man-made has value, but some still wish to salvage the authentic. "She practices ... camouflage, except that instead of adapting to its environment, Williams's imagination, by remaining true to itself, reveals new colorations in the ecology around her." --A.O. Scott, The New York Times Book ReviewKhristen is a teenager who, her mother believes, was marked by greatness as a baby when she died for a moment and then came back to life. After Khristen's failing boarding school for gifted teens closes its doors, and she finds that her mother has disappeared, she ranges across the dead landscape and washes up at a "resort" on the shores of a mysterious, putrid lake the elderly residents there call "Big Girl." In a rotting honeycomb of rooms, these old ones plot actions to punish corporations and people they consider culpable in the destruction of the final scraps of nature's beauty. What will Khristen and Jeffrey, the precocious ten-year-old boy she meets there, learn from this "gabby seditious lot, in the worst of health but with kamikaze hearts, an army of the aged and ill, determined to refresh, through crackpot violence, a plundered earth"? Rivetingly strange and beautiful, and delivered with Williams's searing, deadpan wit, Harrow is their intertwined tale of paradise lost and of their reasons--against all reasonableness--to try and recover something of it.

A razor-sharp new collection of stories of visionary childhood misfits and struggling adult dreamers from this legendary writer of "perfectly indescribable fiction . . . To read Williams is to look into the abyss" (The Atlantic). "Night was best, for, as everyone knows, but does not tell, the sobbing of the earth is most audible at night." "Men are but unconscious machines and they perform their cruelties so effortlessly." "Caring was a power she'd once possessed but had given up freely." The sentences of Joy Williams are like no other--the coiled wit, the sense of a confused and ruined landscape, even the slight chortle of hope that lurks between the words--for the scrupulous effort of telling, in these eleven stories, has a ravishing beauty that belies their substance. We meet lost souls like the twin-sister heiresses of a dirty industrial fortune in "After the Haiku Period," who must commit a violent act in recompense for their family's deeds; in "Nettle," a newly grown man who still revolves in a dreamscape of his childhood boarding-school innocence; the ghost of George Gurdieff, on an obsessive visit to the Arizona birthplace of the shining Susan Sontag; the "pelican child" who lives with the bony, ill-tempered Baba Yaga in a little hut on chicken legs. All of these characters insist on exploring, often at their peril, an indifferent and caustic world: they struggle against our degradation of the climate, of each other, and of honest human experience ("I try to relate only to what is immediately verifiable," says one narrator ruefully), possibly in vain. But each brief, haunted triumph of understanding is celebrated by Williams, a writer for our time and all time.

A young woman who has managed to remain emotionally aloof from her possessive father and disturbed mother finally marries only to find herself the center of a new tragedy

Williams tackles a host of controversial subjects in this collection of nineteen impassioned essays dealing mostly with humanity's abuses of the natural world.

The Florida Keys: A History & Guide is an engaging handbook to the unique coral and limestone islands that curve southwest off the tip of Florida. Acclaimed novelist and Florida resident Joy Williams traces U.S. Highway 1 from Key Largo to Key West, combining the best of local legend--colorful stories you won't find in other guidebooks--with insightful commentary and the most up-to-date advice on where to stay, eat, and wander. Along the way, you will: - explore the exquisite underwater world of North America's only living reef - discover the beautiful bridges that span the Keys, the forts, and the distinctive "conch" architecture of Key West - experience the eerie serenity of Florida Bay's "backcountry" and the unique ecology of the Keys - visit the Key West cemetery and learn about the lives of some of the Keys' eccentrics--writers, madmen, and entrepreneurs with various delusions - find the best (and avoid the worst) caf s, inns, and other establishments that the Keys have to offer Here is the most thorough and candid guide to the Keys, one of the most surprising locales in America. With insight and style, Joy Williams shares with us all of the region's idiosyncrasies and delights.

Williams tackles the issues and concerns surrounding disorder in the classroom. She takes a realistic look at the children that are growing up in today's society and tries to address their needs and learning patterns.

Hold on to your tiaras because Olivia's adventure is about to begin Meet Olivia, a charming seven year old with BIG dreams of becoming a princess. There's just one problem-Olivia wears glasses. Even though she is full of sparkle and spirit, she has allowed her classmates to prove her doubts to be true: princesses do not wear glasses. But wait Things take a surprising turn when she stumbles into an unexpected journey that whisks her away to a world brimming with wonders. As she navigates through this unique land, Olivia comes to a magical realization: Her glasses aren't a problem; that is what makes her unique Join Olivia on an enchanting journey as she discovers that being yourself is the most magical thing of all, and that's what makes her EXTRAordinary

The definitive story collection "by one of the most celebrated American short-story writers.... Powerful, important, compassionate, and full of dark humor. This is a book that will be reread with admiration and love many times over" (Vanity Fair). Joy Williams has been celebrated as a master of the short story for four decades, her renown passing as a given from one generation to the next even in the shifting landscape of contemporary writing. At long last the incredible scope of her singular achievement is put on display: thirty-three stories drawn from three much-lauded collections, and another thirteen appearing here for the first time in book form. Forty-six stories in all, far and away the most comprehensive volume in her long career, showcasing her crisp, elegant prose, her dark wit, and her uncanny ability to illuminate our world through characters and situations that feel at once peculiar and foreign and disturbingly familiar. Virtually all American writers have their favorite Joy Williams stories, as do many readers of all ages, and each one of them is available here.

Among the "best American short stories of the past two decades" (The Atlantic Monthly) from one of our most acclaimed writers. In short stories "so vibrant and alive they have heartbeats, the prose so electric and dazzling it makes the pulse race" (Vanity Fair), a masseuse breaks her rich client's wrist bone, a friend visits at the hospital long after she is welcome, and a woman surrenders her husband to a creepily adoring student. With her singular brand of gorgeous dark humor, Joy Williams explores the various ways--comic, tragic, and unnerving--we seek to accommodate diminishment and loss, offering a rich examination of our capacity for transformation and salvation.

'How to tell the story of a 500-page collection of stories spanning more than forty years? Especially when I really want to just exclaim, "Oh, Oh, OH!" in a state of steadily mounting rapture' Geoff Dyer, Observer Williams' uniquely devastating portrayals of modern life have been captivating readers and writers for decades. Here, for the first time, Williams' thirty-three best stories are available in a single volume, together with thirteen new stories that show a writer continuing to mould the form into something strange and new. Bleak but funny, real but surreal, domestic but dangerous, familiar but enigmatic, Joy Williams' stories fray away the fabric at the edge of ordinary experience to reveal the loneliness at the heart of human life. In 'The Lover', a girl suffers a spiritual and physical wasting away; in 'The Visiting Privilege', a visitor finds refuge in her friend's psychiatric ward; in 'Charity', a woman gives a poor family gas money and finds herself marooned in their peculiar world; in 'Another Season' an itinerant man cleanses an island of roadkill; in 'Craving' an alcoholic couple head towards a car crash. The Visiting Privilege represents the culmination of Williams' career and cements her place as the most singular artist of short fiction writing today.

In her first novel since The Quick and the Dead (a finalist for the Pulitzer Prize), the legendary writer takes us into an uncertain landscape after an environmental apocalypse, a world in which only the man-made has value, but some still wish to salvage the authentic. 'When the book was over, I missed the awful, cleansing darkness of its eyes upon me ' New Yorker Books of the Year 2021 'This is the apocalypse as reimagined by a committee headed by Dalí, Kafka and Yorgos Lanthimos.' Observer Winner of the 2021 Kirkus Prize for Fiction Shortlisted for the 2022 LA Times Prize Longlisted for the PEN/ Jean Stein Book Award Shortlisted for the 2022 Bollinger Everyman Wodehouse Prize for Comic Fiction Khristen is a teenager who, her mother believes, was marked for greatness as a baby when she died for a moment, then came back to life. After Khristen's boarding school for gifted teens closes its doors, and her mother disappears, she ranges across the dead landscape and finds a 'resort' on the shores of a mysterious, putrid lake the elderly residents there call 'Big Girl'. In a rotting honeycomb of rooms, these old ones plot actions to punish corporations and people they consider culpable in the destruction of the final scraps of nature's beauty. Rivetingly strange and delivered with Williams' searing, deadpan wit, Harrow is a tale of paradise lost and the reasons to try and recover something of it.

A fresh, powerful story of surviving ecological disaster and solidarity between the generations by a giant of American literature.

'Filled with humour, canny allusion, beauty, and a profundity born of glimpsing human lives' New Yorker Book of the Year 2024 'Williams is one of the most pioneering fiction writers of our time' Andrew Motion, New Statesman Book of the Year 2024 'Witty, peculiar and brilliant' Telegraph Christmas Pick 2024 'A book completed by a master of the craft. Prepare to be moved' Guardian 'Holy, gorgeous and politically red-hot masterpieces' Daily Telegraph 'An intricate, perfectly articulated work of art' Times Literary Supplement Joy Williams offers ninety-nine illuminations on mortality as she brings her powers of observation to Azrael, the Angel of Death and transporter of souls. Balancing the extraordinary and the humble, the bizarre and the beatific, the book presents Azrael as a thoughtful and troubled protagonist as he confronts the holy impossibility of his task, his uneasy relationship with Death and his friendship with the Devil. In this follow-up to Williams' 99 Stories of God, a collection of connected beings - ranging from ordinary people to great artists such as Kafka, Nietzsche, Bach and Rilke to dogs, birds, horses and butterflies - experience the varying fate of the soul, transient yet everlasting. Profound, sorrowful, witty and ecstatic, Concerning the Future of Souls will leave readers awestruck in their confrontation of life in the face of death.

The sentences of Joy Williams are like no other-the coiled wit, the sense of a confused and ruined landscape, even the slight chortle of hope that lurks between the words. In these eleven stories, we meet souls lost and found: from the twin heiresses of a dirty industrial fortune, who must commit a violent act in recompense for their family's deeds, to a newly grown man who still revolves in a dreamscape of his childhood boarding-school innocence, to the "pelican child" who lives with the bony, ill-tempered Baba Yaga in a little hut on chicken legs. All of these characters insist on exploring, often at their peril, an indifferent and caustic world: they struggle against our degradation of the climate, of each other, and of honest human experience, possibly in vain. But each brief, haunted triumph of understanding is celebrated by Williams, a writer for our time and all time.

Forty years later, The Changeling is no less haunting and no less visionary than the day it was published, but it has only become clearer that Joy Williams is a virtuosic stylist and a singular thinker--a genius in every sense of the word. When we first meet Pearl--young in years but advanced in her drinking--she's on the lam, sitting at a hotel bar in Florida, throwing back gin and tonics with her infant son cradled in the crook of her arm. But her escape is brief, and the relief she feels at having fled her abusive husband, and the Northeastern island his family calls home, doesn't last for long. Soon she's being shepherded back. The island, for Pearl, is a place of madness and pain, and her round-the-clock drinking spurs on the former even if it dulls the latter. And through this lens--Pearl's fragile consciousness--readers encounter the horror and triumph of both childhood and motherhood in a new light. With language that flits between exuberance and elegy, the plainspoken and the poetic, Joy Williams has blended, as Rick Moody writes, "the arresting improbabilities of magic realism, with the surrealism of the folkloric revival . . . and with the modernist foreboding of Under the Volcano," and created something entirely original and entirely consuming.

Pulitzer Prize and National Book Award finalist Joy Williams has a one-of-a-kind gift for capturing both the absurdity and the darkness of everyday life. In Ninety-Nine Stories of God, she takes on one of mankind's most confounding preoccupations: the Supreme Being. This series of short, fictional vignettes explores our day-to-day interactions with an ever-elusive and arbitrary God. It's the Book of Common Prayer as seen through a looking glass--a powerfully vivid collection of seemingly random life moments. The figures that haunt these stories range from Kafka (talking to a fish) to the Aztecs, Tolstoy to Abraham and Sarah, O. J. Simpson to a pack of wolves. Most of Williams's characters, however, are like the rest of us: anonymous strivers and bumblers who brush up against God in the least expected places or go searching for Him when He's standing right there. The Lord shows up at a hot-dog-eating contest, a demolition derby, a formal gala, and a drugstore, where he's in line to get a shingles vaccination. At turns comic and yearning, lyric and aphoristic, Ninety-Nine Stories of God serves as a pure distillation of one of our great artists.

Almost half a century later, The Changeling is no less haunting and no less visionary than the day it was published. It has only become clearer that Joy Williams is a virtuosic stylist and a singular thinker―a genius in every sense of the word. When we first meet Pearl―young in years but advanced in her drinking―she's on the lam, sitting at a hotel bar in Florida, throwing back gin and tonics with her infant son cradled in the crook of her arm. But her escape is brief, and the relief she feels at having fled her abusive husband, and the Northeastern island his family calls home, doesn't last for long. Soon she's being shepherded back. The island, for Pearl, is a place of madness and pain, and her round-the-clock drinking spurs on the former even if it dulls the latter. With The Changeling, Joy Williams has blended, as Rick Moody writes, "the arresting improbabilities of magic realism, with the surrealism of the folkloric revival . . . and with the modernist foreboding of Under the Volcano," and created something entirely original and entirely consuming.

In her first novel since the Pulitzer Prize-nominated The Quick and the Dead, the legendary writer takes us into an uncertain landscape after an environmental apocalypse, a world in which only the man-made has value, but some still wish to salvage the authentic. "She practices ... camouflage, except that instead of adapting to its environment, Williams's imagination, by remaining true to itself, reveals new colorations in the ecology around her." --A.O. Scott, The New York Times Book ReviewKhristen is a teenager who, her mother believes, was marked by greatness as a baby when she died for a moment and then came back to life. After Khristen's failing boarding school for gifted teens closes its doors, and she finds that her mother has disappeared, she ranges across the dead landscape and washes up at a "resort" on the shores of a mysterious, putrid lake the elderly residents there call "Big Girl." In a rotting honeycomb of rooms, these old ones plot actions to punish corporations and people they consider culpable in the destruction of the final scraps of nature's beauty. What will Khristen and Jeffrey, the precocious ten-year-old boy she meets there, learn from this "gabby seditious lot, in the worst of health but with kamikaze hearts, an army of the aged and ill, determined to refresh, through crackpot violence, a plundered earth"? Rivetingly strange and beautiful, and delivered with Williams's searing, deadpan wit, Harrow is their intertwined tale of paradise lost and of their reasons--against all reasonableness--to try and recover something of it.