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Guidelines on Subject Access to Individual Works of Fiction, Drama, Etc.
American Library Association
American Library Association, 2000

front cover of The Guiltless
The Guiltless
Hermann Broch
Northwestern University Press, 2001
Murder, lust, shame, hypocrisy, and suicide are at the center of The Guiltless, Hermann Broch's postwar novel about the disintegration of European society in the decades preceding the Second World War. Broch's characters--apathetic, cruel, or indolent--are trapped in their indifference, prisoners of a "wakeful somnolence." They may mention the "imbecile Hitler," yet they prefer sex or a nap to any social action. Broch thought such ethical perversity and political apathy paved the way for Nazism and hoped that by revealing Germany's underlying guilt he could purge indifference from his own and future generations. In The Guiltless, Broch captures how ennui--a very human failing--evolves into something dehumanizing and dangerous.
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front cover of The Guinea Pigs
The Guinea Pigs
Ludvik Vaculik
Northwestern University Press, 1986
The Guinea Pigs is a chilling fable about dehumanization and alienation representing Vaculik's vision of the menace of Soviet domination in the wake of the 1969 invasion. Written in 1970, it is a sweeping condemnation of totalitarianism, embedded in a rich, imaginative, highly experimental narrative. In the words of the New York Review of Books it is "one of the major works of literature produced in postwar Europe."
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front cover of Gunning For Ho
Gunning For Ho
Vietnam Stories
H. Lee Barnes
University of Nevada Press, 2000
In this rich and varied collection of short stories (six stories & one novella), former Green Beret Lee Barnes deals with the war itself and with its aftermath, but his stories focus more on the human aspects of men in armed conflict and families at home than on the violent drama or political aspects of that war. 
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front cover of Gut Feelings
Gut Feelings
A Writer'S Truths And Minute Inventions
Merrill Joan Gerber
University of Wisconsin Press, 2003
In these highly personal essays and powerful tales that verge on memoir, Merrill Joan Gerber opens to us her life and work as a writer. She is candid and unflinching in revealing the truths and inventions of a writer’s vision and the use of life as the raw material of art. Her personal essays range widely, from the mysteries of love and marriage to painful encounters with suicides and family deaths.

Gerber writes of her apprenticeships with celebrated writing teachers Andrew Lytle and Wallace Stegner and recounts her ghostly (and ghastly) experiences during a month at Yaddo, the famous retreat for artists. Gerber includes three pieces in the book—originally published as stories—but which blur the line between fiction and memoir, demonstrating Gerber’s contention that the deepest secrets in life beget the most passionate fictions.
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Guy Rivers
A Tale of Georgia
William G. Simms
University of Arkansas Press, 1993
The first of William Gilmore Simms's Border Romance series, this is a vividly accurate and entertaining account of two very different societies in frontier Georgia during the height of the gold-rush era.
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front cover of The Guy We Didn't Invite to the Orgy
The Guy We Didn't Invite to the Orgy
and other stories
David Ebenbach
University of Massachusetts Press, 2017
EXCERPT
There was one guy we didn't invite to the orgy. We invited everyone else: Solaire because she's crazy and John and Walt because they're both so good-­looking and they're dating anyway, and we invited Amy because everybody just loves Amy. We even invited Miranda just because she's the jealous type, and since her sister was in town we threw the door open to her sister, too. But there was this one guy we didn't invite.

The stories in The Guy We Didn't Invite to the Orgy—funny, surprising, compassionate, true to life—are about people navigating the trickiest of landscapes: a world full of other people. Each of these characters wants to know, in her or his own way, given the crazy ups and downs and ins and outs of relationships, is it better to go it alone, or is it better to try to carve out a place for yourself, whatever it takes?
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