Greg Marnier - Marny per gli amici - è a un punto morto: dopo la laurea a Yale e un dottorato in Storia a Oxford, quello che è riuscito a ottenere è una supplenza di nove mesi a Aberystwyth, un college sperduto in Galles. Una sera, alla rimpatriata per i dieci anni dalla laurea, rivede Robert James, il «dio greco» di Yale, ex compagno di corso diventato ricco lavorando nella finanza. A caccia di investimenti e di visibilità politica, nel vivo della prima campagna elettorale di Barack Obama, Robert ha appena acquistato a Detroit centinaia di proprietà abbandonate con lo scopo di creare un «modello Groupon di gentrificazione». Per farlo, ha bisogno di persone come Marny. Lusingato, Greg accetta di trasferirsi in Michigan e contribuire a riqualificare quella «zona di guerra in piena America». Ma l'entusiasmo dei pionieri si scontra presto con la rabbia dei vecchi abitanti, e le tensioni nella «nuova Jamestown» - risse tra vigilantes e locali, il ferimento di un ragazzo nero, il rapimento di un bambino - finiscono per riflettere le fragilità e le contraddizioni di un'intera nazione, come l'aumento delle disuguaglianze sociali e il declino del settore industriale. 'Esperimento americano' è un romanzo sugli Stati Uniti di oggi, il racconto impietoso di un paese dove anche l'iniziativa più utopica, votata a «un'idea filosofica della felicità», può celare gli interessi di un colosso come Goldman Sachs.

A frighteningly prescient novel of today’s America—one man’s story of a racially charged real estate experiment in Detroit, Michigan.

“You get in the habit of living a certain kind of life, you keep going in a certain direction, but most of the pressure on you is just momentum. As soon as you stop the momentum goes away. It’s easier than people think to walk out on things, I mean things like cities, leases, relationships and jobs.”

Greg Marnier, Marny to his friends, leaves a job he doesn’t much like and moves to Detroit, Michigan in 2009, where an old friend has a big idea about real estate and the revitalization of a once great American city. Once there, he gets involved in a fist-fight between two of his friends, a racially charged trial, an act of vigilante justice, a love affair with a local high school teacher, and a game of three-on-three basketball with the President—not to mention the money-soaked real estate project itself, cut out of 600 acres of emaciated Detroit. Marny’s billionaire buddy from Yale, Robert James, calls his project “the Groupon model for gentrification,” others call it “New Jamestown,” and Marny calls it home— until Robert James asks him to leave. This is the story of what went wrong.

You Don’t Have to Live Like This is the breakout novel from the “fabulously real” (Guardian) voice of the only American included inGranta’s Best of Young British Novelists. Using the framework of our present reality, Benjamin Markovits blurs the line between the fictional and the fact-based, and captures an invisible current threaded throughout American politics, economics, and society that is waiting to explode.

In print for the first time in the United States, acclaimed novelist Benjamin Markovits’sPlaying Days is a mostly autobiographical narrative concerning the author’s season playing minor league professional basketball in Germany and the love affair with another player’s estranged wife that ushers him into adulthood.

Growing up in Texas, Ben experienced basketball as a mostly solitary pursuit, one he gave up after riding the bench in high school. But as his college classmates prepare for the real world, Ben is seized by an idea. All he needs is a video camera, an empty court, and his mother’s German citizenship.

Improbably, he lands a roster spot on a lower division pro team in Landshut, forty-five minutes outside of Munich. It’s Ben’s first taste of competition in years, not to mention his first job. And like most jobs, it’s defined by repetition, boredom, and gossip. There’s Charlie, the trash-talking mercenary from Chicago; the coach, Herr Henkel, a recently retired player anxious to justify his paycheck; and Karl (based on the author’s real life relationship with Dirk Nowitski), a gangly teenage prodigy flashing the raw talent that will make him an NBA star. As a group of men learn how to navigate one another, Ben falls in love with the young mother of a teammate’s child, and begins an affair that will change his life.

Wry, poignant, and tenderly observed, Playing Days is an evocative meditation on the joys of youth, the triumphs and terrors of post-college life, and one of the best books ever written about what basketball can mean to an American man.

A frighteningly prescient novel of today’s America—one man’s story of a racially charged real estate experiment in Detroit, Michigan.

“You get in the habit of living a certain kind of life, you keep going in a certain direction, but most of the pressure on you is just momentum. As soon as you stop the momentum goes away. It’s easier than people think to walk out on things, I mean things like cities, leases, relationships and jobs.”

Greg Marnier, Marny to his friends, leaves a job he doesn’t much like and moves to Detroit, Michigan in 2009, where an old friend has a big idea about real estate and the revitalization of a once great American city. Once there, he gets involved in a fist-fight between two of his friends, a racially charged trial, an act of vigilante justice, a love affair with a local high school teacher, and a game of three-on-three basketball with the President—not to mention the money-soaked real estate project itself, cut out of 600 acres of emaciated Detroit. Marny’s billionaire buddy from Yale, Robert James, calls his project “the Groupon model for gentrification,” others call it “New Jamestown,” and Marny calls it home— until Robert James asks him to leave. This is the story of what went wrong.

You Don’t Have to Live Like This is the breakout novel from the “fabulously real” (Guardian) voice of the only American included inGranta’s Best of Young British Novelists. Using the framework of our present reality, Benjamin Markovits blurs the line between the fictional and the fact-based, and captures an invisible current threaded throughout American politics, economics, and society that is waiting to explode.

The second in Markovits's Byron trilogy, which began with the acclaimed }Imposture{. Dark and sensuous, it dramatises the rise and fall of a famous literary romance and the relationship in its shadow. }Imposture{ outsold Markovits's previous no

A gothic romance travelling in the shady footsteps of Byron's physician and imposter, the first in a trilogy. 'Intimate, subtle and beguiling.' }Sunday Telegraph{