Luis Murillo Fort Books

The Nickel Boys is Colson Whitehead's follow-up to the Pulitzer Prize- and National Book Award-winning bestseller The Underground Railroad, in which he dramatizes another strand of United States history, this time through the story of two boys sentenced to a stretch in a hellish reform school in Jim-Crow-era Florida.

One of the true classics of psychological suspense, about a writer and his No. 1 fan, now with a stunning new cover look. Paul Sheldon used to write for a living. Now he's writing to stay alive. Misery Chastain is dead. Paul Sheldon has just killed her - with relief, with joy. Misery made him rich; she was the heroine of a string of bestsellers. And now he wants to get on to some real writing. That's when the car accident happens, and he wakes up splinted and in pain, in the remote mountain home of his rescuer, Annie Wilkes. The good news is that Annie was a nurse and has pain-killing drugs. The bad news is that she has long been Paul's Number One Fan. And when she finds out what Paul has done to Misery, she doesn't like it. She doesn't like it at all . . .

Ci sono rari libri che sembrano fatti di niente e alla fine dei quali ci si trova a navigare nel tutto e precisamente su un fiume. «Alla fine tutte le cose si fondono in una sola, e un fiume la attraversa»: così leggiamo nelle ultime righe di questo romanzo, e in quel momento la frase ci pare chiara. Ma come ci si arriva? Ascoltando la storia di due fratelli del Montana appassionati di pesca a mosca in luoghi magnifici e deserti. Nulla di più semplice, eppure, i due fratelli crescono con l’idea che nulla nella vita sia tanto arduo e misterioso: «Nella nostra famiglia non c’era una chiara linea di demarcazione tra religione e pesca a mosca». Scopriamo come la pesca a mosca attiri complicazioni, che coinvolgono birra, cazzotti, sfide virili, zie presbiteriane, una pellerossa dai capelli lucenti, e un vecchio predicatore che legge il Vangelo in greco lungo il fiume. Mentre la tensione si sviluppa nel rapporto fra i due fratelli, che si amano e non si capiscono, si arriva a un finale lacerante, rivelando come siano «proprio le persone con cui viviamo, che amiamo e che dovremmo conoscere meglio, a eluderci». Per raccontare queste storie occorreva un tono asciutto e laconico, evocando un film di John Ford o una lirica di Robert Frost. Così, da una materia lieve e tragica, è nato un «fosco idillio americano». Il romanzo è apparso per la prima volta nel 1976.

In the shadowy recesses of Whitehall and Washington an unholy alliance operates between the intelligence community and the secret arms trade. Jonathan Pine is ready to stand up and be counted in the fight against this ultimate heart of darkness. His mission takes him from the cliffs of west Cornwall, via northern Quebec and the Caribbean, to the jungles of post-Noriega Panama. His quarry is the worst man in the world.

Ask any literary critic -- and most discerning readers -- to name the greatest living American novelist, and Cormac McCarthy is sure to surface as a major contender. Best known for his powerful regional fiction (Sutree, the Border Trilogy, Blood Meridian, et al), this dazzling prose stylist crafts tragic, unforgettable stories suffused with violence, alienation, and an undeniably apocalyptic vision. Now, in what we consider McCarthy's best novel to date, the apocalypse itself becomes a set piece. Unfolding in a terrifying future where Armageddon has been waged and lost, The Road traces the odyssey of a father and his young son through a desolate landscape of devastation and danger. Powerful, moving, and extraordinary by any standard, this is McCarthy at his greatest and gravest.