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?

Often favorably compared to contemporaries Michael Chabon and Lev Grossman, New York Times best-selling author Jonathan Lethem won the National Book Critics Circle Award. In his post-apocalyptic novel Amnesia Moon, he introduces a young man named Chaos who can seemingly remake reality in his dreams. Setting off on a grand adventure, Chaos attempts to learn the secrets behind the world’s destruction. “Lethem tempers a liberal dose of quirky surrealism with interesting, believable characterizations and a compelling, imaginative story line.”-Booklist

Philip is in love with Alice. As the novel opens, he is beginning to lose her. Not to another man, as he fears, but to, literally, nothing. Alice is a physicist, and a team at the University where both she and Philip work has created a hole, a vacuum, a doorway of nothingness inside the laboratory. They call it “Lack.” Alice becomes obsessed with Lack, as Philip is obsessed by Alice.

The novel is at the same time an astute and wise portrait of unrequited love (albeit of a very unusual kind) a hilarious academic parody, a book of ideas and a social satire. It is utterly original, but in the school of Thomas Pynchon, Don DeLillo, Katherine Dunn, and David Foster Wallace.

Passion, humor, yearning and knowledge, blended together in a suspenseful love story that could be characterized as “American Magical Realism.”

The acclaimed author of Motherless Brooklyn and The Fortress of Solitude returns with a roar with this gorgeous, searing portrayal of Manhattanites wrapped in their own delusions, desires, and lies.

Chase Insteadman, a handsome, inoffensive fixture on Manhattan’s social scene, lives off residuals earned as a child star on a beloved sitcom called Martyr & Pesty. Chase owes his current social cachet to an ongoing tragedy much covered in the tabloids: His teenage sweetheart and fiancée, Janice Trumbull, is trapped by a layer of low-orbit mines on the International Space Station, from which she sends him rapturous and heartbreaking love letters. Like Janice, Chase is adrift, she in Earth’s stratosphere, he in a vague routine punctuated by Upper East Side dinner parties.

Into Chase’s cloistered city enters Perkus Tooth, a wall-eyed free-range pop critic whose soaring conspiratorial riffs are fueled by high-grade marijuana, mammoth cheeseburgers, and a desperate ache for meaning. Perkus’s countercultural savvy and voracious paranoia draw Chase into another Manhattan, where questions of what is real, what is fake, and who is complicit take on a life-shattering urgency. Along with Oona Laszlo, a self-loathing ghostwriter, and Richard Abneg, a hero of the Tompkins Square Park riot now working as a fixer for the billionaire mayor, Chase and Perkus attempt to unearth the answers to several mysteries that seem to offer that rarest of artifacts on an island where everything can be bought: Truth.

Like Manhattan itself, Jonathan Lethem’s masterpiece is beautiful and tawdry, tragic and forgiving, devastating and antic, a stand-in for the whole world and a place utterly unique.

A dazzling novel from one of our finest writers—an epic yet intimate family saga about three generations of all-American radicals

At the center of Jonathan Lethem’s superb new novel stand two extraordinary women: Rose Zimmer, the aptly nicknamed Red Queen of Sunnyside, Queens, is an unreconstructed Communist who savages neighbors, family, and political comrades with the ferocity of her personality and the absolutism of her beliefs. Her precocious and willful daughter, Miriam, equally passionate in her activism, flees Rose’s influence to embrace the dawning counterculture of Greenwich Village.
     These women cast spells over the men in their lives: Rose’s aristocratic German Jewish husband, Albert; her cousin, the feckless chess hustler Lenny Angrush; Cicero Lookins, the brilliant son of her black cop lover; Miriam’s (slightly fraudulent) Irish folksinging husband, Tommy Gogan; their bewildered son, Sergius. Flawed and idealistic, Lethem’s characters struggle to inhabit the utopian dream in an America where radicalism is viewed with bemusement, hostility, or indifference.
     As the decades pass—from the parlor communism of the ’30s, McCarthyism, the civil rights movement, ragged ’70s communes, the romanticization of the Sandinistas, up to the Occupy movement of the moment—we come to understand through Lethem’s extraordinarily vivid storytelling that the personal may be political, but the political, even more so, is personal.
     Lethem’s characters may pursue their fates within History with a capital H, but his novel is—at its mesmerizing, beating heart—about love.

One the irrepressibly inventive Jonathan Lethem could weld science fiction and the Western into a mesmerizing novel of exploration and otherness, sexual awakening and loss. At the age of 13 Pella Marsh loses her mother and her home on the scorched husk that is planet Earth. Her sorrowing family emigrates to the Planet of the Archbuilders, whose mysterious inhabitants have names like Lonely Dumptruck and Hiding Kneel—and a civilization that and frightens their human visitors.

On this new world, spikily independent Pella becomes as uneasy envoy between two species. And at the same time is unwilling drawn to a violent loner who embodies all the paranoid machismo of the frontier ethic. Combining the tragic grandeur of John Ford’s The Searchers and the sexual tension of Lolita and transporting them to a planet light years, Girl in Landscape is a tour de force. 

Gumshoe Conrad Metcalf has problems–not the least of which are the rabbit in his waiting room and the trigger-happy kangaroo on his tail. Near-future Oakland is an ominous place where evolved animals function as members of society, the police monitor citizens by their karma levels, and mind-numbing drugs such as Forgettol and Acceptol are all the rage.

In this brave new world, Metcalf has been shadowing the wife of an affluent doctor, perhaps falling a little in love with her at the same time. But when the doctor turns up dead, our amiable investigator finds himself caught in the crossfire in a futuristic world that is both funny–and not so funny.

The incomparable Jonathan Lethem returns with nine brilliant stories that prove he is a master of the short form as well as the novel.

     Jonathan Lethem stretches new literary muscles in this scintillating new collection of stories. Some of these tales—such as “Pending Vegan,” which wonderfully captures a parental ache and anguish during a family visit to an aquatic theme park—are, in Lethem’s words, “obedient (at least outwardly) to realism.” Others, like “The Dreaming Jaw, The Salivating Ear,”, which deftly and hilariously captures the solipsism of blog culture, feature “the uncanny and surreal elements that still sometimes erupt in my short stories.”
     The tension between these two approaches, and the way they inform each other, increase the reader’s surprise and delight as one realizes how cleverly Lethem is playing with form. Devoted fans of Lethem will recognize familiar themes and tropes—the anxiety of influence pushed to reduction ad absurdum in “The King of Sentences”; a hapless outsider trying to summon up bravado in “The Porn Critic;” characters from the comics stranded on a desert island; the necessity and the impossibility of action against authority in “Procedure in Plain Air.” As always, Lethem’s work, humor, and poignancy work in harmony; people strive desperately for connection through words and often misdirect deeds; and the sentences are glorious.

Read by a Full Cast:
“Lucky Alan”…read by Mark Deakins
“The King of Sentences”…read by David Wain
“Traveler Home”…read by Mark Deakins
“Procedure in Plain Air”…read by Amy Landecker
“Their Back Pages”…read by Isaac Butler
“The Porn Critic”…read by Bruce Wagner
“The Empty Room”…read by Michael Goldstrom
“The Dreaming Jaw, The Salivating Ear”…read by Jonathan Lethem
“Pending Vegan”…read by Mark Deakins

Jonathan Lethem’s new collection of stories is a feast for his fans and the perfect introduction for new listeners– a smorgasbord of fantastic, amusing, poignant tales written in a dizzying variety of styles. Lethem is a trailblazer fo a new kind of literary fiction, sampling high and low culture to create fictional worlds that are utterly original. Longtime fans will recognize echoes of Lethem’s novels in all these pieces–narrators who can’t stop babbling, hapless detectives, people with unusual powers that do them no good, hot-blooded academics, the keen loss of love, clever repartee masking desperation, stumbling romances, and the obligations of friendship.

Sparkling with off-beat humor and subtle insights that have made Lethem one of today’s most highly praised writers, the stories in MEN AND CARTOONS will delight Lethem’s legion of fans and appeal to a host of new listeners.

NOW A MAJOR MOTION PICTURE FROM WARNER BROS. STARRING BRUCE WILLIS, EDWARD NORTON, AND WILLEM DAFOE

From America’s most inventive novelist, Jonathan Lethem, comes this compelling and compulsive riff on the classic detective novel.

Lionel Essrog is Brooklyn’s very own Human Freakshow, an orphan whose Tourettic impulses drive him to bark, count, and rip apart language in startling and original ways. Together with three veterans of the St. Vincent’s Home for Boys, he works for small-time mobster Frank Minna’s limo service cum detective agency. Life without Frank, the charismatic King of Brooklyn, would be unimaginable. When Frank is fatally stabbed, Lionel’s world is suddenly turned upside-down, and this outcast who has trouble even conversing attempts to untangle the threads of the case, while trying to keep the words straight in his head. A compulsively involving a and totally captivating homage to the classic detective tale.

From the award-winning author of The Feral Detective and Motherless Brooklyn comes an utterly original post-collapse yarn about two siblings, the man that came between them, and a nuclear-powered super car.

The Arrest isn’t post-apocalypse. It isn’t a dystopia. It isn’t a utopia. It’s just what happens when much of what we take for granted–cars, guns, computers, and airplanes, for starters–quits working. . . .

Before the Arrest, Sandy Duplessis had a reasonably good life as a screenwriter in L.A. An old college friend and writing partner, the charismatic and malicious Peter Todbaum, had become one of the most powerful men in Hollywood. That didn’t hurt.

Now, post-Arrest, nothing is what it was. Sandy, who calls himself Journeyman, has landed in rural Maine. There he assists the butcher and delivers the food grown by his sister, Maddy, at her organic farm. But then Todbaum shows up in an extraordinary vehicle: a retrofitted tunnel-digger powered by a nuclear reactor. Todbaum has spent the Arrest smashing his way across a fragmented and phantasmagorical United States, trailing enmities all the way. Plopping back into the siblings’ life with his usual odious panache, his motives are entirely unclear. Can it be that Todbaum wants to produce one more extravaganza? Whatever he’s up to, it may fall to Journeyman to stop him.

Written with unrepentant joy and shot through with just the right amount of contemporary dread, The Arrest is speculative fiction at its absolute finest.

Supplemental enhancement PDF accompanies the audiobook.

In a volume he describes as “a series of covert and no-so-covert autobiographical pieces,” Jonathan Lethem explores the nature of cultural obsession—in his case, with examples as diverse as western films, comic books, the music of Talking Heads and Pink Floyd, and the New York City subway. Along the way, he shows how each of these “voyages out from himself” have led him home—home to his father’s life as a painter, and to the source of his beginnings as a writer. THE DISAPPOINTMENT ARTIST is a series of windows onto the collisions of art, landscape, and personal history that formed Lethem’s richly imaginative, searingly honest perspective on life as a human creature in the jungle of culture at the end of the twentieth century.

From a confession of the sadness of a “Star Wars nerd” to an investigation into the legacy of a would-be literary titan, Lethem illuminates the process by which a child invents himself as a writer, and as a human being, through a series of approaches to the culture around him. In “The Disappointment Artist,” a letter from his aunt, a children’s book author, spurs a meditation on the value of writing workshops, and the uncomfortable fraternity of writers. In “Defending The Searchers” Lethem explains how a passion for the classic John Wayne Western became occasion for a series of minor humiliations. In “Identifying with Your Parents,” an excavation of childhood love for superhero comics expands to cover a whole range of nostalgia for a previous generation’s cultural artifacts. And “13/1977/21,” which begins by recounting the summer he saw Star Wars twenty-one times, “slipping past ushers who’d begun to recognize me . . . occult as a porn customer,” becomes a meditation on the sorrow and solace of the solitary movie-goer.

THE DISAPPOINTMENT ARTIST confirms Lethem’s unique ability to illuminate the way life, his and ours, can be read between the lines of art and culture.

What’s a novelist supposed to do with contemporary culture? And what’s contemporary culture sup­posed to do with novelists? In The Ecstasy of Influence, Jonathan Lethem, tangling with what he calls the “white elephant” role of the writer as public intellectual, arrives at an astonishing range of answers.

A constellation of previously published pieces and new essays as provocative and idiosyncratic as any he’s written, this volume sheds light on an array of topics from sex in cinema to drugs, graffiti, Bob Dylan, cyberculture, 9/11, book touring, and Marlon Brando, as well as on a shelf’s worth of his literary models and contemporaries: Norman Mailer, Paula Fox, Bret Easton Ellis, James Wood, and oth­ers. And, writing about Brooklyn, his father, and his sojourn through two decades of writing, Lethem sheds an equally strong light on himself.

Jonathan Lethem’s first detective novel since Motherless Brooklyn

“One of America’s greatest storytellers.” —Washington Post

Phoebe Siegler first meets Charles Heist in a shabby trailer on the eastern edge of Los Angeles. She’s looking for her friend’s missing daughter, Arabella, and hires Heist to help. A laconic loner who keeps his pet opossum in a desk drawer, Heist intrigues the sarcastic and garrulous Phoebe. Reluctantly, he agrees to help. The unlikely pair navigate the enclaves of desert-dwelling vagabonds and find that Arabella is in serious trouble–caught in the middle of a violent standoff that only Heist, mysteriously, can end. Phoebe’s trip to the desert was always going to be strange, but it was never supposed to be dangerous. . . .

Jonathan Lethem’s first detective novel since Motherless Brooklyn, The Feral Detective is a singular achievement by one of our greatest writers.

Bonus: Stay tuned after the end of the audiobook to hear an exclusive conversation between Zosia Mamet and Jonathan Lethem.

This is the story of two boys, Dylan Ebdus and Mingus Rude. They are friends and neighbors, but because Dylan is white and Mingus is black, their friendship is not simple. This is the story of their Brooklyn neighborhood, which is almost exclusively black despite the first whispers of something that will become known as “gentrification.”

This is the story of 1970s America, a time when the most simple human 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 the story of 1990s America, when no one cared anymore.

This is the story of punk, that easy white rebellion, and crack, that monstrous plague. This is the story of the loneliness of the avant-garde artist and the exuberance of the graffiti artist.

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.

This is the story of joyous afternoons of stickball and dreaded years of schoolyard extortion. This is the story of belonging to a society that doesn’t accept you. This is the story of prison and of college, of Brooklyn and Berkeley, of soul and rap, of murder and redemption.

This is the story Jonathan Lethem was born to tell. This is THE FORTRESS OF SOLITUDE.

A dead man is brought back to life so he can support his family in “The Happy Man”; occasionally he slips into a zombielike state while his soul is tortured in Hell. In “Vanilla Dunk,” future basketball players are given the skills of old-time stars like Michael Jordan and Wilt Chamberlain. And in “Forever, Said the Duck,” stored computer personalities scheme to break free of their owners. In these and other stories in this striking collection, Jonathan Lethem, author of The Fortress of Solitude and Motherless Brooklyn, draws the reader ever more deeply into his strange, unforgettable world-a trip from which there may be no easy return.

From the incomparable Jonathan Lethem, a raucous romantic farce that explores the paradoxes of love and art

Lucinda Hoekke spends eight hours a day at the Complaint Line, listening to anonymous callers air their random grievances. Most of the time, the work is excruciatingly tedious. But one frequent caller, who insists on speaking only to Lucinda, captivates her with his off-color ruminations and opaque self-reflections. In blatant defiance of the rules, Lucinda and the Complainer arrange a face-to-face meeting—and fall desperately in love.
Consumed by passion, Lucinda manages only to tear herself away from the Complainer to practice with the alternative band in which she plays bass. The lead singer of the band is Matthew, a confused young man who works at the zoo and has kidnapped a kangaroo to save it from ennui. Denise, the drummer, works at No Shame, a masturbation boutique. The band’s talented lyricist, Bedwin, conflicted about the group’s as-yet-nonexistent fame, is suffering from writer’s block. Hoping to recharge the band’s creative energy, Lucinda “suggests” some of the Complainer’s philosophical musings to Bedwin. When Bedwin transforms them into brilliant songs, the band gets its big break, including an invitation to appear on L.A.’s premiere alternative radio show. The only problem is the Complainer. He insists on joining the band, with disastrous consequences for all.
Brimming with satire and sex, You Don’t Love Me Yet is a funny and affectionate send-up of the alternative band scene, the city of Los Angeles, and the entire genre of romantic comedy, but remains unmistakably the work of the inimitable Jonathan Lethem.