This powerful debut collection, set in the light-filled deserts of Nevada and Arizona, introduces a darkly inventive new voice. Like an early Richard Ford, Don Waters writes with skill, empathy, and an edgy wit of worlds not often celebrated in contemporary literature. In Desert Gothic, Waters unleashes a wild and gritty cast and points them down paths of reckoning, where the characters earn the grace of their hard-won wisdom.
     Set in bars, mortuaries, nursing homes, truck stops, and the “poverty motels that encircled downtown’s casino corridor,” Waters’s ten stories are full of misfit transients like Julian, a crematorium worker who decorates abandoned urns to create a “lush underground island,” and the instant Mormon missionary Eli, a hapless divorcé who “always likes people better when they’re a little broken.” Limo drivers, ultra-marathoners, vagabonds, and a distraught novelist-to-be populate the pages of these gritty stories.

Master storyteller Don Waters returns to the desert in his third book set in the American Southwest. With the gothic sensibility of Flannery O’Connor and emotional delicacy of Raymond Carver, these nine contemporary stories deftly explore the lives of characters losing or clinging to a fleeting faith and struggling to find something meaningful to believe in beneath overpowering desert skies.

Soldiers, seekers, priests, prisoners, and surfers pursue their fate amid bizarre, sometimes overwhelming circumstances. In “La Luz de Jesús,” a gutless Los Angeles screenwriter, a believer in nothing but the god of Hollywood, must reorient after he encounters a group of penitents in New Mexico’s Sangre de Cristo Mountains. The decorated soldier in “Española” faces more chaos back home than he did during his tour in Iraq. And “The Saints of Rattlesnake Mountain” pairs a “trustee” prison inmate and a wild mustang horse, both wards of the state of Nevada, as they fumble toward a spiritual truth.

These stories capture the spirit of a region and its people. Once again Waters assembles an unconventional cast of characters, capturing their foibles and imperfections, and always rendering them with compassion as these modern-day martyrs and spiritually haunted survivors strive for some kind of redemption.

Ingenious, sometimes forbidding, often absurd, and altogether original, The Saints of Rattlesnake Mountain is a stirring tribute to the lives, loves, and hopes of the faithful and the dispossessed.

Sid Dulaney, in his mid-thirties, between jobs and short on funds, has moved back to Tucson to take care of his beloved grandmother. To hold down the cost of her prescriptions, he reluctantly starts smuggling medications over the border. His picaresque misadventures involve the lovable eccentrics at her retirement village, Mexican gang threats, a voluptuous former babysitter, midnight voicemails from his exasperated ex-girlfriend, and, perplexingly, a giraffe. This first novel by the winner of the Iowa Short Fiction Award proves Waters is an important new voice in American fiction. A big, rollicking, character-filled novel, Sunland is an entertaining and humane view at life on the margins in America today. 

In 2010, Don Waters set out to write a magazine story about a surfing icon who had known his absentee father. It was an attempt to find a way of connecting to a man he never knew. He didn’t imagine that the story would become a years-long quest to understand a man who left behind almost nothing except for a self-absorbed autobiography for his abandoned son.

These Boys and Their Fathers touches on Waters’s early life with his single mother—and her string of dysfunctional men—and his later search for and encounters with his father, but it quickly expands into a gripping account of the life of a 1930s pulp writer, also named Don Waters, with whom Waters becomes obsessed. This wildly original book blends memoir, investigative reporting, and fiction to sort out difficult aspects of family, masculinity, and what it means to be a father.