Before the Arrest, Sandy Duplessis had a reasonably good life as a screenwriter in L.A. Peter Todbaum, an old college friend and writing partner, had become one of the most powerful men in Hollywood. 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.

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.

Alexander Bruno travels the world winning large sums of money from amateur “whales” who think they can challenge his peerless acumen at backgammon. But after a troubling run of bad luck in Singapore and Berlin --- perhaps brought on by his chance encounter with childhood acquaintance Keith Stolarsky and his girlfriend Tira Harpaz, or perhaps the emergence of a blot that distorts his vision --- Bruno passes out and is brought to the hospital. There, he’s given a depressing diagnosis and his only hope is to return to Berkeley, where he discovered his psychic abilities, and undergo experimental surgery paid for by the scheming Stolarsky.

MORE ALIVE AND LESS LONELY collects over a decade of Jonathan Lethem’s finest writing on writing, with new and previously unpublished material, including: impassioned appreciations of forgotten writers and overlooked books, razor-sharp critical essays, and personal accounts of his most extraordinary literary encounters and discoveries. Only Lethem, with his love of cult favorites and the canon alike, can write with equal insight into classic writers like Charles Dickens and Herman Melville, modern masters like Lorrie Moore and Thomas Pynchon, graphic novelist Chester Brown, and science fiction outlier Philip K. Dick.

Jonathan Lethem’s third collection of stories uncovers a father’s nervous breakdown at SeaWorld; a foundling child rescued from the woods during a blizzard; a political prisoner in a hole in a Brooklyn street; and a crumbling, haunted “blog” on a seaside cliff. As in his novels, Lethem finds the uncanny lurking in the mundane, the irrational self-defeat seeping through our upstanding pursuits, and the tragic undertow of the absurd world(s) in which we live.

Jonathan Lethem brings both literary and comics credibility to his picks for the best graphic pieces of the year.

At the center of Jonathan Lethem’s new novel stand two extraordinary women: Rose Zimmer, an unreconstructed Communist and mercurial tyrant, and her daughter, Miriam, who flees Rose’s suffocating influence and embraces the Age of Aquarius counterculture of Greenwich Village. Both women cast spells that entrance or enchain the men in their lives. These flawed, idealistic people all struggle to follow their own utopian dreams in an America where radicalism is viewed with bemusement, hostility, or indifference.

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

Like some sort of Mendelian hybrid, Lethem's MOTHERLESS BROOKLYN is a cross between a classic detective story, a satire of that same story, and a literary exegesis on the infinite complexities of language.