Chase Insteadman, a handsome fixture on Manhattan's social scene, lives off residuals earned as a child star on a beloved sitcom. Chase owes his current social cachet to an ongoing tragedy much covered in the tabloids: His teenage sweetheart and fiancée is trapped by a layer of low-orbit mines on the International Space Station, from which she sends him rapturous and heartbreaking love letters. Like his fiancée , Chase is adrift, she in Earth's stratosphere, he in a vague routine.

Chase Insteadman, a handsome fixture on Manhattan's social scene, lives off residuals earned as a child star on a beloved sitcom. Chase owes his current social cachet to an ongoing tragedy much covered in the tabloids: His teenage sweetheart and fiancée is trapped by a layer of low-orbit mines on the International Space Station, from which she sends him rapturous and heartbreaking love letters. Like his fiancée , Chase is adrift, she in Earth's stratosphere, he in a vague routine.

Gumshoe Conrad Metcalf has problems - not the least of which are the rabbit in his waiting room and the trigger-happy kangaroo on his tail. Near-future Oakland is an ominous place where evolved animals function as members of society, the police monitor citizens by their karma levels, and mind-numbing drugs such as Forgettol and Acceptol are all the rage. In this brave new world, Metcalf has been shadowing the wife of an affluent doctor, perhaps falling a little in love with her at the same time.

Philip is in love with Alice. As the novel opens, he is beginning to lose her. Not to another man, as he fears, but to, literally, nothing. Alice is a physicist, and a team at the University where both she and Philip work has created a hole, a vacuum, a doorway of nothingness inside the laboratory. They call it "Lack". Alice becomes obsessed with Lack, as Philip is obsessed by Alice.

At the age of 13, Pella Marsh emigrates with her family to the Planet of the Archbuilders. These enigmatic aborigines have names like Lonely Dumptruck and Hiding Kneel, and a civilization that baffles and frightens their human visitors. As the spikily independent Pella becomes an uneasy envoy between two species, Girl in Landscape deftly interweaves themes of exploration and otherness, loss, and sexual awakening.

Lucinda Hoekke spends eight hours a day at the Complaint Line, listening to anonymous callers air their random grievances. One frequent caller, who insists on speaking only to Lucinda, captivates her with his off-color ruminations and opaque self-reflections. In blatant defiance of the rules, Lucinda and the Complainer arrange a face-to-face meeting - and fall desperately in love.

In a volume he describes as "a series of covert and not-so-covert autobiographical pieces", Jonathan Lethem explores the nature of cultural obsession, in his case, with examples as diverse as western films, comic books, the music of Talking Heads and Pink Floyd, and the New York City subway. Along the way, he shows how each of these "voyages out from himself" have led him home, home to his father's life as a painter, and to the source of his beginnings as a writer.

Jonathan Lethem's new collection of stories is a feast for his fans and the perfect introduction for new listeners: a smorgasbord of fantastic, amusing, poignant tales written in a dizzying variety of styles. Lethem is a trailblazer of a new kind of literary fiction, sampling high and low culture to create fictional worlds that are utterly original.

This is the story of two boys, Dylan Ebdus and Mingus Rude. They are friends and neighbors, but because Dylan is white and Mingus is black, their friendship is not simple. This is the story of their Brooklyn neighborhood, which is almost exclusively black despite the first whispers of something that will become known as "gentrification."

"War and Politics", by Steve Coll; "The Predator War", by Jane Mayer; "Australia Burning", by Christine Kenneally; "Procedure in Plain Air", by Jonathan Lethem; and "Screwed", by Nancy Franklin.