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Magic for Beginners
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Icebergs
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Manhattan Nocturne
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No Good Deeds
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My Latest Grievance
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Pandora’s Star
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Traction Man is Here
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Our Kind
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Whales on Stilts
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The Eyre Affair
by Jasper Fforde
The Miraculous Journey of Edward Tulane
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The Emperor’s Children
by Claire Messud
Morningside Heights
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Little Big Man
by Thomas Berger
The Year of Secret Assignments
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Happiness Sold Separately
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So Sleepy
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Adèle & Simon
by Barbara McClintock
The Brambles
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Book! book! book!
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The Lost Art of Keeping Secrets
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Blow the House Down
by Robert Baer
The Ladies of Grace Adieu and Other Stories
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The Inhabited World
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Minaret
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Piece of My Heart
by Peter Robinson
The Night Journal
by Elizabeth Crook
Dealing with Dragons
by Patricia C. Wrede
Love Walked In
by Marisa de los Santos
Interface
by Neal Stephenson (Stephen Bury)
Uniform Justice
by Donna Leon
Guess How Much I Love You
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American Born Chinese
by Gene Luen Yang
The Man of My Dreams
by Curtis Sittenfeld
A Safe Place for Dying
by Jack Fredrickson
What is the What : the autobiography of Valentino Achak Deng
by Dave Eggers
The Abortionist's Daughter
by Elisabeth Hyde
The True Account
by Howard Frank Mosher
Birds without Wings
by Louis De Bernieres
Racketty Packetty House
by Frances Hodgson Burnett
Dirt Music
by Tim Winton
World War Z: An Oral History of the Zombie War
by Max Brooks
Anahita’s Woven Riddle
by Meghan Nuttall Sayres
A Place of Greater Safety
by Hilary Mantel
Napoleon’s Pyramids
by William Dietrich
The Reconstructionist
by Josephine Hart
The Shakespeare Stealer
by Gary L. Blackwood
Gloriana’s Torch
by Patricia Finney
The Tough Guide to Fantasyland
by Diana Wynne Jones
In this Rain
by S. J. Rozan
Ilium
by Dan Simmons
Un Lun Dun
by China Miéville
The Intuitionist
by Colson Whitehead
As She Climbed Across the Table
by Jonathan Lethem
Book Description
The hero of Nobel Prize-winner Jose Saramago’s The History of the Siege of Lisbon is a proofreader for a Lisbon publishing house. While Raimundo Silva is proofing a history of the 1174 siege of Lisbon by Moorish troops, he breaks the cardinal (if implicit) rule of proofreading by deciding to “improve” the text. He inserts the word ‘not’ in a sentence, thus totally changing its meaning. Naturally his transgression is discovered, but his supervisor, rather than firing him, asks him to write a “what if” history, based on his changed sentence. Saramago is right up there with Gabriel Garcia Marquez and Salman Rushdie in his brilliant use of language, inventiveness, and wit. The density of Saramago’s prose may present a challenge to some readers, but it’s well worth the effort. Not only is the novel magically written, but it raises some wonderfully provocative questions about history and language, chief among them: Can recorded history, really, ever be anything other than a variety of fiction? (Of course, reading the novel in Giovanni Pontiero’s excellent translation introduces as subtext a parallel question: To what extent are you reading the thoughts of the author and to what extent the interpretation of the translator?)
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