Insignificant Peace Corps man, sent to promote banana culture on a Caribbean island, rises to great heights of public favor despite being trapped between two conflicting factions.

A self-proclaimed knight Señor Quexada has read so many books about knights in shining armor that he thinks he is one. He gives himself a name more fitting for a knight -- Don Quixote -- and sets off one evening with his squire. At dawn they come across what Don Quixote recognizes as an army of monstrous giants. "Master!" cries Sancho Panza. "They are only windmills!" But Don Quixote knows what he has to do . . . Don Quixote is the creation of the Spanish writer Miguel de Cervantes Saavedra. Eric A. Kimmel skillfully and cleverly crystallizes the character, and with his powerful line and vibrant color Leonard Everett Fisher completes the funny, loving portrait.

Comic novel about an obstinate squatter family on Florida land.

NEW YORK TIMES BESTSELLER • An epic Don Quixote for the modern age, “a brilliant, funny, world-encompassing wonder” (Time) from internationally bestselling author Salman Rushdie SHORTLISTED FOR THE MAN BOOKER PRIZE • “Lovely, unsentimental, heart-affirming . . . a remembrance of what holds our human lives in some equilibrium—a way of feeling and a way of telling. Love and language.”—Jeanette Winterson, The New York Times Book Review NAMED ONE OF THE BEST BOOKS OF THE YEAR BY TIME AND NPR Inspired by the Cervantes classic, Sam DuChamp, mediocre writer of spy thrillers, creates Quichotte, a courtly, addled salesman obsessed with television who falls in impossible love with a TV star. Together with his (imaginary) son Sancho, Quichotte sets off on a picaresque quest across America to prove worthy of her hand, gallantly braving the tragicomic perils of an age where “Anything-Can-Happen.” Meanwhile, his creator, in a midlife crisis, has equally urgent challenges of his own. Just as Cervantes wrote Don Quixote to satirize the culture of his time, Rushdie takes the reader on a wild ride through a country on the verge of moral and spiritual collapse. And with the kind of storytelling magic that is the hallmark of Rushdie’s work, the fully realized lives of DuChamp and Quichotte intertwine in a profoundly human quest for love and a wickedly entertaining portrait of an age in which fact is so often indiscernible from fiction. Praise for Quichotte “Brilliant . . . a perfect fit for a moment of transcontinental derangement.”—Financial Times “Quichotte is one of the cleverest, most enjoyable metafictional capers this side of postmodernism. . . . The narration is fleet of foot, always one step ahead of the reader—somewhere between a pinball machine and a three-dimensional game of snakes and ladders. . . . This novel can fly, it can float, it’s anecdotal, effervescent, charming, and a jolly good story to boot.”—The Sunday Times “Quichotte [is] an updating of Cervantes’s story that proves to be an equally complicated literary encounter, jumbling together a chivalric quest, a satire on Trump’s America and a whole lot of postmodern playfulness in a novel that is as sharp as a flick-knife and as clever as a barrel of monkeys. . . . This is a novel that feeds the heart while it fills the mind.”—The Times (UK)

In the farthest wilds of northeastern Minnesota, back in the Gunflint Range, the author of this book and her artist-husband have a two-room cabin home in the bush country. Beginning one Christmas Day when they first watched the starving deer they later named Peter, the Hoovers had many opportunities, a passionate inclination, and the nature skills to observe this whitetail buck—joined later by his mate, and finally by several of their offspring—through the changing seasons of four years. Close as their relationship was to the generations of beautiful animals, the Hoovers did not consider them pets but fellow inhabitants of that wild country. Their observations reveal the rewards of living close to wild creatures; but more than that, they add valuable information to our knowledge of the cycle of life of the deer and other creatures native to the same world. For although the deer are the chief characters of this book, they are by no means the only wild creatures Mrs. Hoover writes of. Her naturalist’s eye is just as sharp and her affection just as great for the antics of a curious chickadee or a flying squirrel. Mrs. Hoover’s identification with nature knows no favoritism. The Hoovers’ world—the bush country of the United States-Canadian border—is farther removed from civilization than “Mr. Emerson’s woodlot,” but the close relationship of The Gift of the Deer to Walden is evident for all to enjoy. Adrian Hoover’s drawings are from life, and they add another level of understanding to his wife’s vivid prose.

A new reading of madness in Don Quixote based on archival accounts of insanityFrom the records of the Spanish Inquisition, Dale Shuger presents a social corpus of early modern madness that differs radically from the 'literary' madness previously studied. Drawing on over 100 accounts of insanity defences, many of which contain statements from a wide social spectrum - housekeepers, nieces, doctors, and barbers - as well as the testimonies of the alleged madmen and women themselves, Shuger argues that Cervantes' exploration of madness as experience is intimately linked to the questions about ethics, reason, will and selfhood that unreason presented for early modern Spaniards. In adapting, challenging and transforming these discourses, Don Quixote investigates spaces of interiority, confronts the limitations of knowledge - of the self and the world - and reflects on the social strategies for diagnosing and dealing with those we cannot understand. Shuger discovers an intimate connection between Cervantes's integration of this discourse of madness and his part in forging the new genre of the European novel.