Tepper Isn T Going Out

Murray Tepper would say that he is an ordinary New Yorker who is simply trying to read the newspaper in peace. But he reads while sitting behind the wheel of his parked car, and his car always seems to be in a particularly desirable parking spot. Not surprisingly, he is regularly interrupted by drivers who want to know if he is going out. Tepper isn’t going out. Why not? His explanations tend to be rather literal: the indisputable fact, for instance, that he has twenty minutes left on the meter. Tepper’s behavior sometimes irritates the people who want his spot. (“Is that where you live? Is that car rent-controlled?”) It also irritates the mayor—Frank Ducavelli, known in tabloid headlines as Il Duce—who sees Murray Tepper as a harbinger of what His Honor always calls “the forces of disorder.” But once New Yorkers become aware of Tepper, some of them begin to suspect that he knows something they don’t know. And an ever-increasing number of them are willing to line up for the opportunity to sit in his car with him and find out. Tepper Isn’t Going Out is a wise and witty story of an ordinary man who, perhaps innocently, changes the world around him. BONUS: This edition contains an excerpt from Calvin Trillin's Quite Enough of Calvin Trillin.

“Brilliant . . . The dean of American comic writers showcases his varied talents mocking the public and private lives of politicians, average citizens and himself.”—The Star-Ledger Calvin Trillin has committed blatant acts of funniness all over the place—in The New Yorker, in one-man off-Broadway shows, in his “deadline poetry” for The Nation, in comic novels, and in what USA Today called “simply the funniest regular column in journalism.” Now Trillin selects the best of his funny stuff and organizes it into topics like high finance (“My long-term investment strategy has been criticized as being entirely too dependent on Publishers Clearing House sweepstakes”) and the literary life (“The average shelf life of a book is somewhere between milk and yogurt”). He addresses the horrors of witnessing a voodoo economics ceremony and the mystery of how his mother managed for thirty years to feed her family nothing but leftovers (“We have a team of anthropologists in there now looking for the original meal”). He even skewers deserving political figures in poetry. In this, the definitive collection of his humor, Calvin Trillin is prescient, insightful, and invariably hilarious. “A literary treasure . . . There is only one Calvin Trillin, and if he didn’t exist we would have to invent him.”—The Washington Times “Funny is to Trillin what drinking is to Uncle Jed in Annie Get Your Gun—it’s what he does ‘natur’lly.’ He’s also a lot more than funny. Quite Enough of Calvin Trillin is the twenty-eighth book he’s published over not far short of a half-century, and their range of subjects is remarkable.”—Jonathan Yardley, The Washington Post “Trillin made his reputation over four decades as the author of ‘U.S. Journal’ in the New Yorker [but he] is incapable of resisting the temptation of comedy. The jokes kept on welling up and Mr. Trillin made a parallel reputation as a writer of funny stuff.”—The Economist “Wry, whip-smart, understated, and entertaining.”—The Miami Herald

In Calvin Trillin’s antic tales of family life, she was portrayed as the wife who had “a weird predilection for limiting our family to three meals a day” and the mother who thought that if you didn’t go to every performance of your child’s school play, “the county would come and take the child.” Now, five years after her death, her husband offers this loving portrait of Alice Trillin off the page–his loving portrait of Alice Trillin off the page–an educator who was equally at home teaching at a university or a drug treatment center, a gifted writer, a stunningly beautiful and thoroughly engaged woman who, in the words of a friend, “managed to navigate the tricky waters between living a life you could be proud of and still delighting in the many things there are to take pleasure in.” Though it deals with devastating loss, About Alice is also a love story, chronicling a romance that began at a Manhattan party when Calvin Trillin desperately tried to impress a young woman who “seemed to glow.” “You have never again been as funny as you were that night,” Alice would say, twenty or thirty years later. “You mean I peaked in December of 1963?” “I’m afraid so.” But he never quit trying to impress her. In his writing, she was sometimes his subject and always his muse. The dedication of the first book he published after her death read, “I wrote this for Alice. Actually, I wrote everything for Alice.” In that spirit, Calvin Trillin has, with About Alice, created a gift to the wife he adored and to his readers.

The Myth of Capitalism tells the story of how America has gone from an open, competitive marketplace to an economy where a few very powerful companies dominate key industries that affect our daily lives. Digital monopolies like Google, Facebook and Amazon act as gatekeepers to the digital world. Amazon is capturing almost all online shopping dollars. We have the illusion of choice, but for most critical decisions, we have only one or two companies, when it comes to high speed Internet, health insurance, medical care, mortgage title insurance, social networks, Internet searches, or even consumer goods like toothpaste. Every day, the average American transfers a little of their pay check to monopolists and oligopolists. The solution is vigorous anti-trust enforcement to return America to a period where competition created higher economic growth, more jobs, higher wages and a level playing field for all. The Myth of Capitalism is the story of industrial concentration, but it matters to everyone, because the stakes could not be higher. It tackles the big questions of: why is the US becoming a more unequal society, why is economic growth anemic despite trillions of dollars of federal debt and money printing, why the number of start-ups has declined, and why are workers losing out.

“One of the most satisfying science fiction novels I have read in years.”—The New York Times Book Review Here is a novel as original as the breathtaking, unspoiled world for which it is named, a place where all appears to be in idyllic balance. Generations ago, humans fled to the cosmic anomaly known as Grass. Over time, they evolved a new and intricate society. But before humanity arrived, another species had already claimed Grass for its own. It, too, had developed a culture. . . . Now, a deadly plague is spreading across the stars. No world save Grass has been left untouched. Marjorie Westriding Yrarier has been sent from Earth to discover the secret of the planet’s immunity. Amid the alien social structure and strange life-forms of Grass, Lady Westriding unravels the planet’s mysteries to find a truth so shattering it could mean the end of life itself.

New York Times bestselling author of The Nineties and “one of America’s top cultural critics” (Entertainment Weekly) Chuck Klosterman’s debut novel brilliantly captures the charm and dread of small-town life—soon to be a major motion picture starring Ed Harris, Vanessa Hudgens, and Henry Golding! Somewhere in rural North Dakota, there is a fictional town called Owl. They don’t have cable. They don’t really have pop culture, but they do have grain prices and alcoholism. People work hard and then they die. But that’s not nearly as awful as it sounds; in fact, sometimes it’s perfect. Mitch Hrlicka lives in Owl. He plays high school football and worries about his weirdness, or lack thereof. Julia Rabia just moved to Owl. A history teacher, she gets free booze and falls in love with a self-loathing bison farmer. Widower and local conversationalist Horace Jones has resided in Owl for seventy-three years. They all know each other completely, except that they’ve never met. But when a deadly blizzard—based on an actual storm that occurred in 1984—hits the area, their lives are derailed in unexpected and powerful ways. An unpretentious, darkly comedic story of how it feels to exist in a community where local mythology and violent reality are pretty much the same thing, Downtown Owl is “a satisfying character study and strikes a perfect balance between the funny and the profound” (Publishers Weekly).

A wave of fundamentalism is sweeping across the globe as the millennium approaches, and a power-hungry presidential candidate sees his ticket to success in making an example out of a teenage girl who abandoned her infant in a Dumpster. Taking the girl's case is Carolyn Crespin, a former attorney, who left her job for a quiet family life. Now she must call upon five friends from college, who took a vow to always stand together. But their success might depend on the assistance of Sophy, the enigmatic sixth friend, whom they all believed dead.