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The English Patient

The English Patient

edition:Hardcover
also available: Paperback
tagged : literary

With ravishing beauty and unsettling intelligence, Michael Ondaatje's Booker Prize-winning novel traces the intersection of four damaged lives in an Italian villa at the end of World War II. Hana, the exhausted nurse; the maimed thief, Caravaggio; the wary sapper, Kip: each is haunted by the riddle of the English patient, the nameless, burned man who lies in an upstairs room and whose memories of passion, betrayal,and rescue illuminates this book like flashes of heat lightening.

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She stands up in the garden where she has been working and looks into the distance. She has sensed a shift in the weather. There is another gust of wind, a buckle of noise in the air, and the tall cypresses sway. She turns and moves uphill toward the house, climbing over a low wall, feeling the first drops of rain on her bare arms. She crosses the loggia and quickly enters the house.

In the kitchen she doesn't pause but goes through it and climbs the stairs which are in darkness and then continues along the long hall, at the end of which is a wedge of light from an open door.

She turns into the room which is another garden--this one made up of trees and bowers painted over its walls and ceiling. The man lies on the bed, his body exposed to the breeze, and he turns his head slowly towards her as she enters.

Every four days she washes his black body, beginning at the destroyed feet. She wets a washcloth and holding it above his ankles squeezes the water onto him, looking up as he murmurs, seeing his smile. Above the shins the burns are worst. Beyond purple. Bone.

She has nursed him for months and she knows the body well, the penis sleeping like a sea horse, the thin tight hips. Hipbones of Christ, she thinks. He is her despairing saint. He lies flat on his back, no pillow, looking up at the foliage painted onto the ceiling, its canopy of branches, and above that, blue sky.

She pours calamine in stripes across his chest where he is less burned, where she can touch him. She loves the hollow below the lowest rib, its cliff of skin. Reaching his shoulders she blows cool air onto his neck, and he mutters.

What? she asks, coming out of her concentration.

He turns his dark face with its gray eyes towards her. She puts her hand into her pocket. She unskins the plum with her teeth, withdraws the stone and passes the flesh of the fruit into his mouth.

He whispers again, dragging the listening heart of the young nurse beside him to wherever his mind is, into that well of memory he kept plunging into during those months before he died.

From the Trade Paperback edition.

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In the Skin of a Lion

In the Skin of a Lion

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In the Skin of a Lion Audio (Read by Willem Dafoe)

A haunting tale of passion, privilege and biting physical labour, of men and women moved by compassion and driven by the power of dreams — sometimes even to murder.
Acclaimed stage and film actor Willem Dafoe played Caravaggio in Ondaatje's The English Patient.

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An April night in 1917. Harris and Pomphrey were on the bridge, in the dark wind. Pomphrey had turned west and was suddenly stilled. His hand reached out to touch Harris on the shoulder, a gesture he had never made before.

-- Look!

Walking on the bridge were five nuns.

Past the Dominion Steel castings wind attacked the body directly. The nuns were walking past the first group of workers at the fire. The bus, Harris thought, must have dropped them off near Castle Frank and the nuns had, with some confusion at that hour, walked the wrong way in the darkness.

They had passed the black car under the trees and talking cheerfully stepped past the barrier into a landscape they did not know existed -- onto a tentative carpet over the piers, among the night labourers. They saw the fire and the men. A few tried to wave them back. There was a mule attached to a wagon. The hiss and jump of machines made the ground under them lurch. A smell of creosote. One man was washing his face in a barrel of water.

The nuns were moving towards a thirty-yard point on the bridge when the wind began to scatter them. They were thrown against the cement mixers and steam shovels, careering from side to side, in danger of going over the edge.

Some of the men grabbed and enclosed them, pulling leather straps over their shoulders, but two were still loose. Harris and Pomphrey at the far end looked on helplessly as one nun was lifted up and flung against the compressors. She stood up shakily and then the wind jerked her sideways, scraping her along the concrete and right off the edge of the bridge. She disappeared into the night by the third abutment, into the long depth of air which held nothing, only sometimes a rivet or a dropped hammer during the day.

Then there was no longer any fear on the bridge. The worst, the incredible had happened. A nun had fallen off the Prince Edward Viaduct before it was even finished. The men covered in wood shavings or granite dust held the women against them. And Commissioner Harris at the far end stared along the mad pathway. This was his first child and it had already become a murderer.

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Life of Pi (Movie Tie-in Edition)

Life of Pi (Movie Tie-in Edition)

edition:Paperback
tagged : literary, animals

Life of Pi is at once the story of a young castaway who faces immeasurable hardships on the high seas, and a meditation on religion, faith, art and life that is as witty as it is profound. Using the threads of all of our best stories, Yann Martel has woven a glorious spiritual adventure that makes us question what it means to be alive, and to believe.

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By Gaslight

By Gaslight

edition:Hardcover
also available: Paperback

Longlisted for the 2016 Scotiabank Giller Prize
No. 1 National Bestseller
Globe and Mail's "20 Books to Read in 2016," Maclean's bestseller, Toronto Star bestseller, Ottawa Citizen's "Best on the Shelf," Huffington Post's "Best Fall 2016 Books," Publishers Weekly "Books of the Week," National Post bestseller, Vanity Fair 2016 "Must Read Books of the Fall"

"A dark tale of love, betrayal and murder that reaches from the slums of Victorian London to the diamond mines in South Africa, to the America …

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Excerpt

From The Woman in the Thames: Part One
1885
London

He was the oldest son.
     He wore his black moustaches long in the manner of an outlaw and his right thumb hooked at his hip where a Colt Navy should have hung. He was not yet forty but already his left knee went stiff in a damp cold from an explod­ing Confederate shell at Antietam. He had been sixteen then and the shrapnel had stood out from his knee like a knuckle of extra bone while the dirt heaved and sprayed around him. Since that day he had twice been thought killed and twice come upon his would-be killers like an avenging spectre. He had shot twenty-three men and one boy outlaws all and only the boy’s death did not trouble him. He entered banks with his head low, his eyebrows drawn close, his huge menacing hands empty as if fixed for strangling. When he lurched aboard crowded street­cars men instinctively pulled away and women followed him with their eyelashes, bonnets tipped low. He had not been at home more than a month at a stretch for five years now though he loved his wife and daughters, loved them with the fear a powerful man feels who is given to breaking things. He had long yellow teeth, a wide face, sunken eyes, pupils as dark as the twist of a man’s intestines.
     So.
     He loathed London. Its cobbled streets were filthy even to a man whose business was filth, who would take a saddle over a bed and huddle all night in a brothel’s privy with his Colt drawn
until the right arse stumbled in. Here he had seen nothing green in a month that was not holly or a cut bough carted in from a countryside he could not imagine. On Christmas he had watched the poor swarm a man in daylight, all clutched rags and greed; on New Year’s he had seen a lady kick a watercress girl from the step of a carriage, then curse the child’s blood spotting her laces. A rot ate its way through London, a wretchedness older and more brutal than any he had known in Chicago.
He was not the law. No matter. In America there was not a thief who did not fear him. By his own measure he feared no man living and only one man dead and that man his father.
 
It was a bitter January and that father six months buried when he descended at last into Bermondsey in search of an old opera­tive of his father’s, an old friend. Wading through the night’s fog, another man’s blood barnacling his knuckles, his own busi­ness in London nearly done.
     He was dressed like a gentleman though he had lost his gloves and he clutched his walking stick in one fist like a cudgel. A stain spotted his cuffs that might have been soot or mud but was not either. He had been waiting for what passed for morn­ing in this miserable winter and paused now in a narrow alley at the back of Snow Fields, opera hat collapsed in one hand, frost creaking in the timbers of the shopfronts, not sure it had come. Fog spilled over the cobblestones, foul and yellow and thick with coal fumes and a bitter stink that crusted the nos­trils, scalded the back of the throat. That fog was everywhere, always, drifting through the streets and pulling apart low to the ground, a living thing. Some nights it gave off a low hiss, like steam escaping a valve.
     Six weeks ago he had come to this city to interrogate a woman who last night after a long pursuit across Blackfriars Bridge had leaped the railing and vanished into the river. He thought of the darkness, the black water foaming outward, the slapping of the Yard sergeants’ boots on the granite setts.

He could still feel the wet scrape of the bridge bollards against his wrists.
     She had been living lawful in this city as if to pass for respectable and in this way absolve herself of a complicated life but as with anything it had not helped. She had been calling herself LeRoche but her real name was Reckitt and ten years earlier she had been an associate of the notorious cracksman and thief Edward Shade. That man Shade was the one he really hunted and until last night the Reckitt woman had been his one certain lead. She’d had small sharp teeth, long white fingers, a voice low and vicious and lovely.
     The night faded, the streets began to fill. In the upper windows of the building across the street a pale sky glinted, reflected the watery silhouettes below, the passing shadows of the early horses hauling their waggons, the huddled cloth caps and woollens of the outsides perched on their sacks. The iron-shod wheels chittering and squeaking in the cold. He coughed and lit a cigar and smoked in silence, his small deep-set eyes predatory as any cutthroat’s.
     After a time he ground the cigar under one heel and punched out his hat and put it on. He withdrew a revolver from his pocket and clicked it open and dialed through its chambers for something to do and when he could wait no longer he hitched up one shoulder and started across.
 
 
If asked he would say he had never met a dead nail didn’t want to go straight. He would say no man on the blob met his own shadow and did not flinch. He would run a hand along his unshaved jaw and glower down at whatever reporter swayed in front of him and mutter some unprintable blasphemy in flash dialect and then he would lean over and casually rip that page from the reporter’s ring-coil notebook. He would say lack of education is the beginning of the criminal underclass and both rights and laws are failing the country. A man is worth more than a horse any day though you would never guess it to see it. The cleverest jake he’d ever met was a sharper and the kindest jill a whore and the world takes all types. Only the soft-headed think a thing looks like what it is.
     In truth he was about as square as a broken jaw but then he’d never met a cop any different so what was the problem and whose business was it anyway.

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