Why do life-saving prescription drugs cost so much? Drug companies insist that prices reflect the millions they invest in research and development. In this gripping exposé, Merrill Goozner contends that American taxpayers are in fact footing the bill twice: once by supporting government-funded research and again by paying astronomically high prices for prescription drugs. Goozner demonstrates that almost all the important new drugs of the past quarter-century actually originated from research at taxpayer-funded universities and at the National Institutes of Health. He reports that once the innovative work is over, the pharmaceutical industry often steps in to reap the profit. <br>Goozner shows how drug innovation is driven by dedicated scientists intent on finding cures for diseases, not by pharmaceutical firms whose bottom line often takes precedence over the advance of medicine. A university biochemist who spent twenty years searching for a single blood protein that later became the best-selling biotech drug in the world, a government employee who discovered the causes for dozens of crippling genetic disorders, and the Department of Energy-funded research that made the Human Genome Project possible--these engrossing accounts illustrate how medical breakthroughs actually take place. <br><I>The $800 Million Pill </I>suggests ways that the government's role in testing new medicines could be expanded to eliminate the private sector waste driving up the cost of existing drugs. Pharmaceutical firms should be compelled to refocus their human and financial resources on true medical innovation, Goozner insists. This book is essential reading for everyone concerned about the politically charged topics of drug pricing, Medicare coverage, national health care, and the role of pharmaceutical companies in developing countries.

   <DIV><DIV>Milo Burke, a development officer at a third-tier university, has “not been developing”: after a run-in with a well-connected undergrad, he finds himself among the burgeoning class of the newly unemployed. Grasping after odd jobs to support his wife and child, Milo is offered one last chance by his former employer: he must reel in a potential donor—a major “ask”—who, mysteriously, has requested Milo’s involvement. But it turns out that the ask is Milo’s sinister college classmate Purdy Stuart. And the “give” won’t come cheap. Probing many themes— or, perhaps, anxieties—including work, war, sex, class, child rearing, romantic comedies, Benjamin Franklin, cooking shows on death row, and the eroticization of chicken wire, <I>The Ask </I>is a burst of genius by a young American master who has already demonstrated that the truly provocative and important fictions are often the funniest ones.</DIV></DIV>

   <p> <i>New York Times</i> bestselling and award-winning author Ron Rash is "a storyteller of the highest rank" (Jeffrey Lent) and has won comparisons to John Steinbeck, Cormac McCarthy, and Gabriel GarcÍa MÁrquez. It is rare that an author can capture the complexities of a place as though it were a person, and rarer still that one can reveal a land as dichotomous and fractious as Appalachia—a muse; a siren; a rugged, brutal landscape of exceptional beauty, promise, and suffering—with the honesty and precision of a photograph. "If you haven't heard of the Southern writer Ron Rash, it is time you should" (<i>The Plain Dealer</i>). </p> <p> In <i>Burning Bright</i>, the stories span the years from the Civil War to the present day, and Rash's historical and modern settings are sewn together in a hauntingly beautiful patchwork of suspense and myth, populated by raw and unforgettable characters mined from the landscape of Appalachia. In "Back of Beyond," a pawnshop owner who profits from the stolen goods of local meth addicts—including his own nephew—comes to the aid of his brother and sister-in-law when they are threatened by their son. The pregnant wife of a Lincoln sympathizer alone in Confederate territory takes revenge to protect her family in "Lincolnites." And in the title story, a woman from a small town marries an outsider; when an unknown arsonist starts fires in the Smoky Mountains, her husband becomes the key suspect. </p> <p> In these stories, Rash brings to light a previously unexplored territory, hidden in plain sight—first a landscape, and then the dark yet lyrical heart and the alluringly melancholy soul of his characters and their home. </p>

   The year is 1929, and newlyweds George and Serena Pemberton travel from Boston to the North Carolina mountains where they plan to create a timber empire. Although George has already lived in the camp long enough to father an illegitimate child, Serena is new to the mountains -- but she soon shows herself to be the equal of any man, overseeing crews, hunting rattle-snakes, even saving her husband's life in the wilderness. Together this lord and lady of the woodlands ruthlessly kill or vanquish all who fall out of favor. Yet when Serena learns that she will never bear a child, she sets out to murder the son George fathered without her. Mother and child begin a struggle for their lives, and when Serena suspects George is protecting his illegitimate family, the Pembertons' intense, passionate marriage starts to unravel as the story moves toward its shocking reckoning. <P>Rash's masterful balance of violence and beauty yields a riveting novel that, at its core, tells of love both honored and betrayed. </P>

   In this funny, touching collection about music, identity, liars, and love, Geoffrey Becker brings us into the lives of people who have come to a turning point and lets us watch as they take, however clumsily, their next steps.<br><br>In the title story, an aging black singer who performs only Elvis songs despite his classic bluesman looks, has his regular spot at the local blues jam threatened by a newly arrived Asian American with the unlikely name Robert Johnson. In "Man Under," two friends struggling to be rock musicians in Reagan-era Brooklyn find that their front door has been removed by their landlord. An aspiring writer discovers the afterlife consists of being the stand in for a famous author on an endless book tour in "Another Coyote Story." Lonely and adrift in Florence, Italy, a young man poses as a tour guide with an art history degree in "Know Your Saints." And in "This Is Not a Bar," a simple night on the town for a middle-aged guitar student and jazz buff turns into a confrontation with his past and an exploration of what is or is not real.<br><br>In his depictions of struggling performers, artists, expectant parents, travelers, con-men, temporarily employed academics, and even the recently deceased, Becker asks the question, Which are more important: the stories we tell other people or the ones we tell ourselves?

   <DIV>Vibrant, sexy, and quite possibly crazy, Bernice is determined to reclaim the child she gave up for adoption five years ago. She convinces her boyfriend, Landis, to help carry out her plan, but once the abduction is accomplished, Bernice—whose own mother was given to manic episodes and strange behavior—is plagued with doubts. Will Landis stay with her, given her volatile personality and his own drifter past? Will she and Landis both end up in jail for this crime? And, perhaps most importantly, will she fail at being a mother? Dovetailed with this is the story of the conservative Christian adoptive parents, Tessa and David, and the effect the kidnapping has on their troubled marriage. As Bernice and Landis journey across America, from Colorado Springs to Tucson to Baltimore, Bernice must confront her past and the secrets she has kept.</DIV>

   You are about to travel to Edgecombe St. Mary, a small village in the English countryside filled with rolling hills, thatched cottages, and a cast of characters both hilariously original and as familiar as the members of your own family. Among them is Major Ernest Pettigrew (retired), the unlikely hero of Helen Simonson's wondrous debut. Wry, courtly, opinionated, and completely endearing, Major Pettigrew is one of the most indelible characters in contemporary fiction, and from the very first page of this remarkable novel he will steal your heart.<br><br><br>The Major leads a quiet life valuing the proper things that Englishmen have lived by for generations: honor, duty, decorum, and a properly brewed cup of tea. But then his brother's death sparks an unexpected friendship with Mrs. Jasmina Ali, the Pakistani shopkeeper from the village. Drawn together by their shared love of literature and the loss of their respective spouses, the Major and Mrs. Ali soon find their friendship blossoming into something more. But village society insists on embracing him as the quintessential local and her as the permanent foreigner. Can their relationship survive the risks one takes when pursuing happiness in the face of culture and tradition?<b> </b>

   <p> Joe Hill has been hailed as "a major player in 21st-century fantastic fiction" (<i>Washington Post</i>); "a new master in the field of suspense" (James Rollins); "one of the most confident and assured new voices in horror and dark fantasy to emerge in recent years (<i>Publishers Weekly</i>); a writer who "builds character invitingly and plants an otherworldly surprise around every corner" (<i>New York Times</i>). </p> <p> This gifted and brilliantly imaginative author catapulted to bestsellerdom with the chilling <i>Heart-Shaped Box</i> and cemented his reputation with the prizewinning volume of short fiction <i>20<small>^th</small> Century Ghosts</i>. At last, the <i>New York Times</i> bestselling author returns with a relentless supernatural thriller that runs like <i>Hell</i> on wheels. . . . </p> <p> Ignatius Perrish spent the night drunk and doing terrible things. He woke up the next morning with a thunderous hangover, a raging headache . . . and a pair of horns growing from his temples. </p> <p> At first Ig thought the horns were a hallucination, the product of a mind damaged by rage and grief. He had spent the last year in a lonely, private purgatory, following the death of his beloved, Merrin Williams, who was raped and murdered under inexplicable circumstances. A mental breakdown would have been the most natural thing in the world. But there was nothing natural about the horns, which were all too real. </p> <p> Once the righteous Ig had enjoyed the life of the blessed: born into privilege, the second son of a renowned musician and younger brother of a rising late-night TV star, he had security, wealth, and a place in his community. Ig had it <i>all</i>, and more—he had Merrin and a love founded on shared daydreams, mutual daring, and unlikely midsummer magic. </p> <p> But Merrin's death damned all that. The only suspect in the crime, Ig was never charged or tried. And he was never cleared. In the court of public opinion in Gideon, New Hampshire, Ig is and always will be guilty because his rich and connected parents pulled strings to make the investigation go away. Nothing Ig can do, nothing he can say, matters. Everyone, it seems, including God, has abandoned him. Everyone, that is, but the devil inside. . . . </p> <p> Now Ig is possessed of a terrible new power to go with his terrible new look—a macabre talent he intends to use to find the monster who killed Merrin and destroyed his life. Being good and praying for the best got him nowhere. It's time for a little revenge. . . . <i>It's time the devil had his due. . . .</i> </p>

   Masterful essays that illuminate not only how we die but also how we live. Thomas Lynch, poet, funeral director, and author of the highly praised <I>The Undertaking</I>, winner of an American Book Award and finalist for the National Book Award, continues to examine the relations between the "literary and mortuary arts."

   <strong>“[Lynch] brings the lessons of death to life, and turns life and death into art.” —<em>Time Out New York</em></strong> Here is the voice of both witness and functionary. Lynch stands between “the living and the living who have died” with outrage and amazement, awe and calm, straining for the brief glimpse we all get of what mortality means to a vital species.<p /> .