Examines the effects of television culture on how we conduct our public affairs and how "entertainment values" corrupt the way we think.

'A writer of virtuostic talents who can seemingly do anything' New York Times'Wallace is a superb comedian of culture . . . his exuberance and intellectual impishness are a delight' James Wood, Guardian'He induces the kind of laughter which, when read in bed with a sleeping partner, wakes said sleeping partner up . . . He's damn good' Nicholas Lezard, Guardian'One of the best books about addiction and recovery to appear in recent memory' Sunday TimesSomewhere in the not-so-distant future the residents of Ennet House, a Boston halfway house for recovering addicts, and students at the nearby Enfield Tennis Academy are ensnared in the search for the master copy of Infinite Jest, a movie said to be so dangerously entertaining its viewers become entranced and expire in a state of catatonic bliss . . .

'An irresistibly brilliant examination of modern conscience' The New York Times Jean-Baptiste Clamence is a soul in turmoil. Over several drunken nights in an Amsterdam bar, he regales a chance acquaintance with his story. From this successful former lawyer and seemingly model citizen a compelling, self-loathing catalogue of guilt, hypocrisy and alienation pours forth. The Fall (1956) is a brilliant portrayal of a man who has glimpsed the hollowness of his existence. But beyond depicting one man's disillusionment, Camus's novel exposes the universal human condition and its absurdities - for our innocence that, once lost, can never be recaptured ...'Camus is the accused, his own prosecutor and advocate. The Fall might have been called "The Last Judgement" 'Olivier Todd

Self-satisfied, delighting in the many fascinating quirks of his own personality, Hermann Hermann is perhaps not to be taken too seriously. But then a chance meeting with a man he believes to be his double reveals a frightening 'split' in Hermann's nature. With shattering immediacy, Nabokov takes us into a deranged world, one full of an impudent, startling humour, dominated by the egotistical and scornful figure of a murderer who thinks himself an artist.

The two years before he wrote Crime and Punishment (1866) had been bad ones for Dostoyevsky. His wife and brother had died; the magazine he and his brother had started, Epoch, collapsed under its load of debt; and he was threatened with debtor's prison. With an advance that he managed to wangle for an unwritten novel, he fled to Wiesbaden, hoping to win enough at the roulette table to get himself out of debt. Instead, he lost all his money; he had to pawn his clothes and beg friends for loans to pay his hotel bill and get back to Russia. One of his begging letters went to a magazine editor, asking for an advance on yet another unwritten novel — which he described as Crime and Punishment. One of the supreme masterpieces of world literature, Crime and Punishment catapulted Dostoyevsky to the forefront of Russian writers and into the ranks of the world's greatest novelists. Drawing upon experiences from his own prison days, the author recounts in feverish, compelling tones the story of Raskolnikov, an impoverished student tormented by his own nihilism, and the struggle between good and evil. Believing that he is above the law, and convinced that humanitarian ends justify vile means, he brutally murders an old woman — a pawnbroker whom he regards as "stupid, ailing, greedy…good for nothing." Overwhelmed afterwards by feelings of guilt and terror, Raskolnikov confesses to the crime and goes to prison. There he realizes that happiness and redemption can only be achieved through suffering. Infused with forceful religious, social, and philosophical elements, the novel was an immediate success. This extraordinary, unforgettable work is reprinted here in the authoritative Constance Garnett translation. A selection of the Common Core State Standards Initiative.