Imagine an author who has become a legend in his own lifetime - all because of the novel he wrote in the first flush of youth. Novelist Eugene Pota is a cultural icon of the twentieth century, struggling to write what will be the last novel of his career. But what to write about when, like so many noted authors before him, all of Pota's output since that first, landmark novel has been scrutinized and dissected - and found wanting? PORTRAIT OF THE ARTIST, AS AN OLD MAN follows Pota's efforts to settle on a subject for his final work. In his search, Heller - through Pota - pays homage to his favourite authors and discusses the problems that have plagued so many writers whose later works failed to live up to the successes of their first: F. Scott Fitzgerald, Henry James, Jack London, Joseph Conrad, to name but a few. It is a rare and enthralling look into the artist's search for creativity, a search that comes at a point in life when impotence - both sexual and spiritual - has become a frustrating fact. Joseph Heller must have known that this would be his final novel; it stands as a fitting testament to the life and works of a leading light in modern literature.

James Joyce’s deeply personal and “most memorable novel” (H. G. Wells) detailing the spiritual and artistic awakening of Stephen Dedalus, now freshly repackaged for the Union Square & Co. Signature Classics line. James Joyce’s semi-autobiographical first novel explores the author’s own love-hate relationship with Ireland through Stephen Dedalus, Joyce’s literary alter ego. Dedalus yearns to be an artist, but must first overcome the aspects of Irish society, like school and the church, that he feels restrains his creativity and stifles his soul. Joyce’s use of experimental literary techniques, including stream of consciousness, is on full display in his first novel, which he further develops in his later works, Ulysses and Finnegan’s Wake.

A November morning in the 1920s finds an elderly man in his eighties walking the grounds of his Dorchester home, pondering his past and future with deep despondence. That man is the revered novelist and poet Thomas Hardy, and Christopher Nicholson's fictionalized account of the final years of the accomplished writer's life is as engrossing as it is heartbreaking. The novel focuses on the true events that occurred around the London theater dramatization of Hardy's acclaimed novel Tess of the D'Urbervilles, including Hardy's hand-picked casting of the young, alluring Gertrude "Gertie" Bugler of The Hardy Players to play Tess. As plans for the play become more concrete, Hardy's interest in Gertie becomes a voyeuristic infatuation, causing him to write some of the best poems of his career. However, when Hardy's reclusive wife, Florence, catches wind of Hardy's desire for Gertie to take the London stage, a tangled web of jealously and missed opportunity ensnares all three characters-with devastating results. Told from the perspectives of Hardy, Gertie, and Florence, Nicholson's novel perfectly captures the often-difficult juxtaposition of fledgling hopes and the unfulfilled life. With expert insight into the struggles of both Hardy and Florence, coupled with poetic yet unassuming prose, Winter is certainly on par with the novels of its central character.

A Portrait of the Artist as a Young Man portrays Stephen Dedalus’s Dublin childhood and youth, providing an oblique self-portrait of the young James Joyce. At its center are questions of origin and source, authority and authorship, and the relationship of an artist to his family, culture, and race. Exuberantly inventive, this coming-of-age story is a tour de force of style and technique.

The first biography in over sixty years of a great American artist whose paintings are more famous than the man who made them. George Catlin has been called the “first artist of the West,” as none before him lived among and painted the Native American tribes of the Northern Plains. After a false start as a painter of miniatures, Catlin found his calling: to fix the image of a “vanishing race” before their “extermination”—his word—by a government greedy for their lands. In the first six years of the 1830s, he created over six hundred portraits—unforgettable likenesses of individual chiefs, warriors, braves, squaws, and children belonging to more than thirty tribes living along the upper Missouri River. Political forces thwarted Catlin’s ambition to sell what he called his “Indian Gallery” as a national collection, and in 1840 the artist began three decades of self-imposed exile abroad. For a time, his exhibitions and writings made him the most celebrated American expatriate in London and Paris. He was toasted by Queen Victoria and breakfasted with King Louis-Philippe, who created a special gallery in the Louvre to show his pictures. But when he started to tour “live” troupes of Ojibbewa and Iowa, Catlin and his fortunes declined: He changed from artist to showman, and from advocate to exploiter of his native performers. Tragedy and loss engulfed both. This brilliant and humane portrait brings to life George Catlin and his Indian subjects for our own time. An American original, he still personifies the artist as a figure of controversy, torn by conflicting demands of art and success.

The author sets out to capture Picasso's early life in this biography, exploring the originality of his art and ambition. At the heart of the interpretation is Picasso's first great love, Fernande Olivier, with whom the artist lived for seven years - a period which included his most revolutionary works. Fernande is given her own voice by way of excerpts from her candid memoirs. Including the artist's friendships with Apollonaire and Gertrude Stein, the book evokes the atmosphere of bohemian life in Paris in the early 1900s.

For fans of The Wager and Mutiny on the Bounty comes a thrilling true tale of power, obsession, and betrayal at the edge of the world. In 1808, an American merchant ship happened upon an uncharted island in the South Pacific and unwittingly solved the biggest nautical mystery of the era: the whereabouts of a band of fugitives who, after seizing their vessel, had disappeared into the night with their Tahitian companions. Pitcairn Island was the perfect hideaway from British authorities, but after nearly two decades of isolation its secret society had devolved into a tribalistic hellscape; a real-life Lord of the Flies, rife with depravity and deception. Seven generations later, the island’s diabolical past still looms over its 48 residents; descendants of the original mutineers, marooned like modern castaways. Only a rusty cargo ship connects Pitcairn with the rest of the world, just four times a year. In 2018, Brandon Presser rode the freighter to live among its present-day families; two clans bound by circumstance and secrets. While on the island, he pieced together Pitcairn’s full story: an operatic saga that holds all who have visited in its mortal clutch—even the author. Told through vivid historical and personal narrative, The Far Land goes beyond the infamous Mutiny on the Bounty, offering an unprecedented glimpse at life on the fringes of civilization, and how, perhaps, it’s not so different from our own.