Albert Einstein opens a letter sent to him from the Eastern Front of World War I. Inside, he finds the first exact solution to the equations of general relativity, unaware that it contains a monster that could destroy his life's work.
The great mathematician Alexander Grothendieck tunnels so deeply into abstraction that he tries to cut all ties with the world, terrified of the horror his discoveries might cause.
Erwin Schroedinger and Werner Heisenberg battle over the soul of physics after creating two equivalent yet opposed versions of quantum mechanics. Their fight will tear the very fabric of reality, revealing a world stranger than they could have ever imagined.
Using extraordinary, epoch-defining moments from the history of science, Benjamin Labatut plunges us into exhilarating territory between fact and fiction, progress and destruction, genius and madness.

所谓深河，即印度的圣河——恒河。
河畔，死者的尸体被焚烧，骨灰撒入河中，期望灵魂在来世复活；无数虔诚的人用混有骨灰或尸体漂流其中的河水洗漱、沐浴，祈求来世的幸福。
深河，神的爱河，无论多么丑陋的人、多么肮脏的人都不拒绝。
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一个前往印度的日本旅行团，成员心性各异：有一心追寻妻子转世可能性的职员，有欲将心事寄托于鸟儿的作家，也有曾在缅甸丛林历尽炼狱之苦的老兵，还有无法爱上他人的失婚女人……他们每一个人有各自的人生，有不能对他人说的秘密；他们背负着这些重担而活，他们在深河里有非净化不可的东西……

《诗经》作为我国文学史上第一部诗歌总集，是可以传之永久的，但自从被捧上儒家经典的宝座之后，诗旨遭经师的歪曲，每首诗都被套上“思无邪”的灵光圈，打上“温柔敦厚”的标记。完全以温柔敦厚来概括全部《诗经》，却不符合事实，请看《诗经注析》。

红学家周汝昌汇校本《红楼梦》于2006年末由人民出版社出版。这本80回《红楼梦》是周汝昌历经56年，搜寻了现存的11种古本《红楼梦》，一字一句精校而成的。周汝昌认为，这一版本匡正了自清乾隆至今120回“曹雪芹、高鹗合著”通行本中的谬误，是接近曹雪芹原笔原貌的真本、善本。
据介绍，通行本《红楼梦》的发端是清乾隆书商程伟元通过活字摆印、大量印刷、廉价发行的120回《红楼梦》。 周汝昌等一些《红楼梦》研究者认为，这个通行本是在清乾隆文化专制的背景下流布的，当时曹雪芹的《红楼梦》没有被全部禁毁，而是经过和珅安排改造、找写手高鹗对前80回“点窜原文”，对80回后全盘重写，把它变成一部单纯的“情书”。
新中国成立后，《红楼梦》有两个通行本流传较广，一是1957年人民文学出版社出版的以程乙本为底本的120回《红楼梦》；二是1982年人民文学出版社出版的以庚辰本为底本的前80回加高鹗后40回续书的120回《红楼梦》。这两个通行本存在同一个问题：它们将《红楼梦》与高鹗续书捆在一起，且在封面上署名“曹雪芹 高鹗著”，使得普通读者多误认为《红楼梦》是曹雪芹、高鹗合著的。
即将出版的周汇本《红楼梦》中，周汝昌不但将曹雪芹的80回《红楼梦》和高鹗续书割裂开，并且根据甲戌本、蒙府本、戚序本等11个古抄珍本，一字一句比较，选择出他认为最符合曹雪芹原笔原貌的字句。与此同时，周汇本《红楼梦》还附有周汝昌对于曹雪芹80回后《红楼梦》的探佚论文。

In the years before the Second World War, a man throws a statue of the crucified Christ over a waterfall. Later, in Hitler's trenches, he loses his arms to an enemy grenade. The blasphemer, screaming in agony, presided over by Satan, who pours a cup of gall into his open mouth, is portrayed amid the flames of Hell in a painting by the parish priest that is mounted on a calvary where the two streets in the cross-shaped village meet. Thus begins When the Time Comes, Josef Winkler's chronicle of life in rural Austria written in the form of a necrology, tracing the benighted destiny of a community through its suicides and the tragic deaths that befall it, punctuated by the invocation of the bone-cooker whose viscous brew is painted on the faces of the work horses and the haunting stanzas of Baudelaire's "Litanies of Satan." In a hypnotic, incantatory prose reminiscent at times of Homer, at times of the Catholic liturgy, at times of the naming of the generations in the book of Genesis, When the Time Comes is a ruthless dissection of the pastoral novel, laying bare the corruption that lies in its heart. Writing in the vein of his compatriots Peter Handke, and Elfriede Jelinek, but perhaps going further in his relentlessness and aesthetic radicalism, Josef Winkler is one of the most significant European authors working today.

In 1979, Josef Winkler appeared on the literary horizon as if from nowhere, collecting numerous honors and the praise of the most prominent critical voices in Germany and Austria. Throughout the 1980s, he chronicled the malevolence, dissipation, and unregenerate Nazism endemic to Austrian village life in an increasingly trenchant and hallucinatory series of novels. At the decade's end, fearing the silence that always lurks over the writer's shoulder, he abandoned the Hell of Austria for Rome: not to flee, but to come closer to the darkness. There, he passes his days and nights among the junkies, rent boys, gypsies, and transsexuals who congregate around Stazione Termini and Piazza dei Cinquecento, as well as in the graveyards and churches, where his blasphemous reveries render the most hallowed rituals obscene. Traveling south to Naples and Palermo, he writes down his nightmares and recollections and all that he sees and reads, engaged, like Rimbaud, in a rational derangement of the senses, but one whose aim is a ruthless condemnation of church and state and the misery they sow in the lives of the downtrodden. Equal parts memoir, dream journal, and scandal sheet, the novel is, in the author's words, a cage drawn around the horror. Writing here is an act of commemoration and redemption, a gathering of the bones of the forgotten dead and those outcast and spit on by society, their consecration in art, and their final repatriation to the book's titular graveyard.

青春不曾幻滅，是我們自以為懂得了這個世界
總是誠實面對生命的郭強生，
在十八歲那年提筆，為自己與那個時代，留下了如此無雜質的成長書寫。
這樣的一個男孩，如何面對壓抑與寂寞？如何去愛？
又如何預知了屬於他的文學人生？
「對愛的諸般面貌，不論是同性戀或異性戀，
都只能用生命去驗證，沒有簡單的公式。」──郭強生
被菸絲纏繞的氤氳時光，黑板上日日削減的倒數日期。
小小的喜歡、小小的嫉妒與傷心，
混入教室蒸騰的汗與制服縐褶裡，成了他們每一吋呼吸。
各種心緒不斷放大、再放大，
鼓脹於情感對峙間，刺破於聯考與時代禁忌下……
若是一抹嘆息一滴淚就是整個世界了，
那麼自高中升上大學、從羞赧走向世故的他們，
畢了業、失了戀，
接下來還有哪兒可去呢？
「如果這本書還有什麼可以感動我自己的，那就是書裡呈現出的那種熱烈的生活，真心全意地在看世界，以及愛自己周圍的人。」補習街外的等待、租屋處的自作多情、高三下如赤子般的絮語，在作者真誠又夾帶一絲迷茫的書寫下款款延展開來。點根菸是心情的一部份，無關品德教養，每一個青春轉折都真實得令人心痛。心痛但也過癮，那些瑰奇纖敏、或婉轉或澎派的紙上內心戲，當我們成長後再次回眸；是那麼無可替代，卻也不可能複製重來了……

華人世界難得一見之百萬字三部曲長篇小說──「自然史」三部曲之第一部‧二聲部小說。這也是香港新生代著名小說家董啟章以數年時間完成的「自然史」三部曲之第一部，是「自我」探尋、確立之書。

日常的物件，構造出不尋常的人生。從物件的發展史——收音機、電報、電話、車床、衣車、電視機、汽車、遊戲機、錶、打字機、相機、卡式錄音機和書——，展現出人與物共生的歷程和圖景。

三代人的書，構造出V城三代人的歷史。從阿爺董富收藏的《天工開物》，和爸爸董銑鑽研的《萬物原理圖鑑》，到「我」利用文字工場的想像模式創造出來的《栩栩如真》——關於少女栩栩的「人物世界」——；通過小說，尋找通往所有可能世界的路徑。