There comes a time for most of us when we knowingly face a decision of such consequence that it will drastically affect the shape of our lives. Some people are prepared to carry the weight of that decision. David Lyons, the protagonist of Gallery Bundu, was not.

In Paul Stoller's work of fiction framed by African storytelling, David is the 52-year-old co-owner of Gallery Bundu, an African art shop in New York City. As a young man in the late 1960s, he joined the Peace Corps to avoid the draft. Assigned to teach English in Niger, he was eager to seek out adventure, and he found it—from drugged-out American expatriates and mamba-filled forests to seductive African women. In the course of his stay in Niger, David meets and falls in love with Zeinabou, a strikingly beautiful woman who professes her love to him, though David believes that he is not the only man she dates. Two weeks before his anticipated return to the United States, Zeinabou informs David that she is pregnant with what she believes is his child. Not knowing how to react, David flees Niger and returns to America ridden with guilt. The hastiness of David's decision will shadow his every move for the rest of his life and will lead him to eventually return to Niger and try to make amends.

Beautifully written and deeply felt, Gallery Bundu is a cautionary tale about the impulses of youth and the unyielding grip of regret. Stoller's vivid language and style allow readers, through David's recollections, to touch, taste, and smell the sensations of West Africa—the tasty aroma of a traditional African fish stew, the spectacle of witches, and the humorous and often frightening experiences of traveling in the bush. A lyrical novel of decisions and destiny, Gallery Bundu is rich in character and detail, bringing anthropology to a new literary height.

The Gambler’s Apprentice tells the story of a teenage boy growing up in Texas during desperate times. Willy, wise and capable beyond his years, learns the gambler’s trade and experiences adventures that demand quick wits—and sometimes violent actions. This is a multilayered story, full of Old West motifs such as cattle-rustling and gunfights along with more modern twists.

Starting with a cattle-rustling scheme involving his father, Willy embarks on a life of crime early, eventually landing in a Laredo jail for shooting a man. During his incarceration he meets Sonny Archer, an itinerant gambler, who teaches Willy how to be a cardsharp. Upon his release, Willy roams the country, honing his new talent and getting into more trouble. During his time in New Orleans, Willy even winds up in a confrontation with an Italian crime ring.

While all these adventures mold Willy into a clever card player and a masterful fortune-hunter, his grand ambition to be a professional gambler is thwarted when the influenza epidemic strikes. Willy is forced to return home to his family’s Texas ranch, where he faces the most challenging test of his young life and begins to prove that he is far more than simply an apprentice.

California’s Santa Clara Valley was once home to a vigorous wine industry. The Garden of the World is the tale of a pioneer winemaking family headed by Paul Tourneau, a fiercely ambitious vintner determined to make the finest wines in California. His plans are disrupted by a phylloxera epidemic at the beginning of the twentieth century, the trials of national Prohibition, and the bitter alienation of his older son. Played out against the vividly depicted seasonal rhythms of vineyard life, this is a moving saga of betrayal, loss, and the harsh consequences of unbreakable ambition.

The incandescent African American writer Gary Fisher was completely unpublished when he died of AIDS in 1994 at the age of 32. This volume, which includes all of Fisher’s stories and a generous selection from his journals, notebooks, and poems, will introduce readers to a tender, graphic, extravagant, and unswervingly incisive talent. In Fisher’s writings the razor-sharp rage is equalled only by the enveloping sweetness; the raw eroticism by a dazzling writerly elegance. Evocations of a haunting and mobile childhood are mixed in Fisher’s stories with an X-ray view of the racialized sexual vernaculars of gay San Francisco; while the journals braid together the narratives of sexual exploration and discovery, a joyous and deepening vocation as a writer, a growing intimacy with death, and an engagement with racial problematics that becomes ever more gravely and probingly imaginative.

A uniquely intimate, unflinching testimony of the experience of a young, African American gay man in the AIDS emergency, Gary in Your Pocket includes an introduction by Don Belton that describes Fisher’s achievement in the context of other work by Black gay men such as Marlon Riggs and Essex Hemphill, and a biographical afterword by Eve Kosofsky Sedgwick.

Works of genre fiction are a source of enjoyment, read during cherished leisure time and in incidental moments of relaxation. This original book takes readers inside popular genres of fiction, including crime, fantasy, and romance, to reveal how personal tastes, social connections, and industry knowledge shape genre worlds. Attuned to both the pleasure and the profession of producing genre fiction, the authors investigate contemporary developments in the field—the rise of Amazon, self-publishing platforms, transmedia storytelling, and growing global publishing conglomerates—and show how these interact with older practices, from fan conventions to writers’ groups.

Sitting at the intersection of literary studies, genre studies, fan studies, and studies of the book and publishing cultures, Genre Worlds considers how contemporary genre fiction is produced and circulated on a global scale. Its authors propose an innovative theoretical framework that unfolds genre fiction’s most compelling characteristics: its connected social, industrial, and textual practices. As they demonstrate, genre fiction books are not merely texts; they are also nodes of social and industrial activity involving the production, dissemination, and reception of the texts.

In this exquisite debut novel, Mary Emerick takes readers into the watery landscape of southeast Alaska and the depths of a family in crisis.
An abusive father and a broken home forces a teenage Winnie to seek the safety of a neighboring bay and a pair of unlikely father figures. Years later her mother goes missing, and Winnie returns to the hunting and fishing lodge she grew up in to find the world she knew gone. Her once-powerful father disfigured by a bear attack. Her childhood hero revealed as merely human. And her mother’s story rewritten by a stray note.
As Winnie uses the help of friends to sort out the details of her mother’s final exodus, she finds herself pulled into a murky swirl of family secrets and devastating revelations. As the search heads higher into the mountains, Winnie must learn to depend on her own strength in order to reach the one she loves.

Susan Petigru King wrote and published virtually all of her novels and short stories just before and during the American civil war, although her fiction deals neither with slavery nor sectional politics. Set in her native Charleston and its surrounding plantations, King's novels explore the social life and sexual politics of South Carolina's privileged antebellum elite. In the tradition of nineteenth-century domestic novels, King's writings chronicle courtships and marriages, love and jealousy. The republication of these long-neglected novels will introduce contemporary readers to the imaginative power of an important southern American woman writer.
Lily, King's best known novel, was originally published by Harper and Brothers in 1855. In this work, King skewers the rituals of courtship that propel its wealthy young heroine toward marriage and a melodramatic death. Gerald Gray's Wife, King's last novel, plays out the ironies of a plain woman who survives—but barely—the revelations that destroy her seemingly perfect marriage and acquired beauty. In both novels, women's jealousies and men's deceptions are the forces that propel King's often satirical pen. Largely lacking the moral instruction so common among nineteenth-century domestic novelists, King's novels are differentiated by their critical perspective on women's position, their exploration of themes of failure and frustration, and their focus on the drawing room and ballroom rather than the kitchen and nursery.

What really happened that afternoon in November 1938, when the young Polish Jew walked into the German embassy in Paris and shots rang out? The immediate consequence was concrete: Nazi Germany retaliated with the "Night of Broken Glass," recognized as the beginning of the Holocaust. Lost and overlooked in the aftermath is the arresting story of Herschel Grynszpan, the confused teenager whose murder of Ernst vom Rath was used to justify Kristallnacht. In this historical novel, award-winning writer Harlan Greene may be the first author to take the Polish Jew at his word. Historians have tried to explain away Herschel Grynszpan's claim that he was involved in a love affair with vom Rath; Greene, instead, traces the lives of the underprivileged and persecuted Herschel Grynszpan and the wealthy German diplomat Ernst vom Rath as they move inevitably towards their ill-fated affair. In spare, vivid, and compelling prose, Greene imagines their world, their relationship, and their last horrific encounter, as they tried to wrest love and meaning from a world that would itself soon disappear in a whirlwind of disaster and madness.

Isaiah Spiegel was an inmate of the Lodz Ghetto from its inception in 1940 until its liquidation in 1944. While there, he wrote short stories depicting Jewish life in the ghetto and managed to hide them before he was deported to Auschwitz. After being freed, he returned to Lodz to retrieve and publish his stories.
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The stories examine the relationship between inmates and their families, their friends, their Christian former neighbors, the German soldiers, and, ultimately, the world of hopelessness and desperation that surrounded them. In using his creative powers to transform the suffering and death of his people into stories that preserve their memory, Spiegel succeeds in affirming the humanity and dignity the Germans were so intent on destroying.

Originally published as Malchut geto (Malkhes geto) in Yiddish.

Adrian C. Louis’s previously unpublished early novel has given us “the unsayable said” of the Native American reservation. A realistic look at reservation life, The Ghost Dancers explores—very candidly—many issues, including tribal differences, “urban Indians” versus “rez Indians,” relationships among Blacks, Whites, and Indians, police tactics on and off the rez, pipe ceremonies and sweat-lodge ceremonies, alcoholism and violence on the rez, visitations of the supernatural, poetry and popular music, the Sixties and the Vietnam War, the aims and responsibilities of journalism, and, most prominently, interracial sexual relationships. Readers familiar with Louis’s life and other works will note interesting connections between the protagonist, Bean, and Louis himself, as well as a connection between The Ghost Dancers and other Louis writings—especially his sensational novel Skins.

It’s 1988, and Lyman “Bean” Wilson, a Nevada Indian and middle-aged professor of journalism at Lakota University in South Dakota, is reassessing his life. Although Bean is the great-grandson of Wovoka, the Paiute leader who initiated the Ghost Dance religion, he is not a full-blood Indian and he endures the scorn of the Pine Ridge Sioux, whose definition of Indian identity is much narrower. A man with many flaws, Bean wrestles with his own worst urges, his usually ineffectual efforts to help his family, and his determination to establish his identity as an Indian. The result is a string of family reconnections, sexual adventures, crises at work, pipe and sweat-lodge ceremonies, and—through his membership in the secret Ghost Dancers Society—political activism, culminating in a successful plot to blow the nose off George Washington’s face on Mount Rushmore.

Quintessentially Louis, this raw, angry, at times comical, at times heartbreaking novel provides an unflinching look at reservation life and serves as an unyielding tribute to a generation without many choices.

A teen’s life is complicated.  Add an overworked dad, a distraught mom.
Enter an old man from the wrong side of the tracks.
He knows things.  He’s there when you need him.
 
This happens to someone; it’s not a maybe thing.  People get hurt.  People die.  There’s a dad who loves his kid but works all the time.  When he doesn’t work, he drinks.  When he drinks he’s out of control.

There’s a mom.  She knows dad is overworked, a good man carrying too much responsibility. 

The kid turns to the handy man to learn a man’s skills.  In the old man from the wrong side of the tracks, the kid finds unusual skills and terrible—but true—lessons.  He finds that his own safety comes at a cost to his unfortunate friend.  He finds growing up comes at a cost to himself.  This is the story of such a kid, told by himself after he has lived much of his life, come to terms with his parents’ weaknesses, and learned that seemingly insignificant people carry more pain than he can imagine, though he has already seen plenty.

This historical novel is the third and final book in American poet and fiction writer Janet Lewis’s Cases of Circumstantial Evidence series, based on legal case studies compiled in the nineteenth century. In The Ghost of Monsieur Scarron, Lewis returns to her beloved France, the setting of The Wife of Martin Guerre, her best-known novel and the first in the series. As Swallow Press executive editor Kevin Haworth relates in a new introduction, Monsieur Scarron shifts the reader into the center of Paris in 1694, during the turbulent reign of the Sun King, Louis XIV. The junction of this time and place gives Monsieur Scarron an intriguing political element not apparent in either The Wife of Martin Guerre or The Trial of Sören Qvist.

The Ghost of Monsieur Scarron begins in a small bookbinder’s shop on a modest Paris street, but inexorably expands to encompass a tumultuous affair, growing social unrest, and the conflicts between a legal system based on oppressive order and a society about to undergo harsh changes. With its domestic drama set against a larger political and historical backdrop, Monsieur Scarron is considered by some critics and readers to be the most intricately layered and fully realized book of Lewis’s long career. Originally published in 1959, Monsieur Scarron has remained in print almost continuously ever since.

This moving fictional memoir begins as a woman heads home after a meeting regarding her inheritance. Rebeling against the legalese uttered by the attorney, her mind drifts back to her childhood and she sees her life with sudden clarity. On the train, she jots down a few notes, which prompt the poetic outpouring of memory and emotion that make up this delicate novel.

The narrator’s mother looms large in her psyche. Labeled “eccen­tric” or “Italian,” her mother in fact suffered from what was later found to be manic depression. Without understanding the disease, the fam­ily treated the unpredictable ups and downs of her condition as they struck. During periods of paralyzing depression she was hospitalized, and the family felt abandoned. During periods of manic productivity and overdrive, she was a dedicated pharmacist, an exemplary home­maker, and an unusually knowledgeable gardener. 

This sparse novel draws the portrait of a grand and unforgettable lady, loving and unable to love at once. Her bequest is as much a ma­terial one as it is an emotional one, and, the author surmises as she glances at her own daughters, a genetic one.

    These ten magical stories are primarily set in Pittsburgh-area river towns, where Italian American women and girls draw from their culture and folklore to bring life and a sense of wonder to a seemingly barren region of the Rust Belt. Each story catapults the ordinary into something original and unpredictable.
    A skeptical journalist scopes out the bar where the town mayor, in seemingly perfect health, is drinking with his buddies and celebrating what he claims is the last day of his life. A woman donates her dead mother’s clothes to a thrift shop but learns that their destiny is not what she expected. A ten-year-old girl wrestles with the facts of life as she watches her neighbor struggle to get pregnant while her teenage sister finds it all too easy. A high school girl hallucinates in a steamy hospital laundry room and discovers she can see her coworkers’ futures. A developer’s wrecking ball is no match for the legend of Giovanna’s green thumb in the title story “Giovanna’s 86 Circles.”
    Quirky and profound, Corso’s magical leaps uncover the everyday poetry of these women’s lives.

Finalist for the John Gardner Fiction Book Award

Selected for “Best Short Stories of 2005” in Montserrat Review

Best Books for Regional Special Interests, selected by the American Association of School Librarians, and Best Books for General Audiences, selected by the Public Library Association

Sons of Italy National Book Club Selection
 

Departing from Appalachia's 150-year-old literary legacy of formula and caricature, West Virginia native Ann Pancake uses the texture of language, an intense attention to place, and complexity of characterization to recreate the region -- its tragic history and fragile culture, the interior landscapes of its people, and their deep rootedness in a threatened land. Her characters, already marginalized economically and socially, confront what many perceive as an invading outside culture, enduring and at times transcending the loss of their "place," both literally and figuratively. Their stories undermine the assumption that just because people don't articulate what happens inside them, nothing much is happening at all.

Based on a three-year series of interviews conducted by Steven Ratiner for the Christian Science Monitor, this book offers extended conversations with twelve of the most influential poets writing today. Their comments are wonderfully detailed, refreshingly honest, and provide the sort of intimate introduction to both poet and text that readers are rarely privileged to enjoy. Included are conversations with William Stafford, Mary Oliver, John Montague, Charles Simic, Seamus Heaney, Donald Hall, Maxine Kumin, Carolyn Forché, Martín Espada, Marge Piercy, Rita Dove, and Bei Dao. In the book's closing interview, Steven Ratiner makes a return visit to Donald Hall's New Hampshire farm shortly before the publication of Hall's collection Without, which focused on the death of his wife, poet Jane Kenyon.

Giving their word is what poets do; it is their stock-in-trade, their daily bread. In the hands of the most accomplished, a poet's words are transformed into a kind of window: looking inward toward the territory of memory, dream, personal mythology and opening out onto the landscape of the shared world where life and work are rooted. For each poet there is an intricate relationship between these two realms and poetry's third domain, the language that bridges both experiences and becomes the body of the poem. Giving Their Word shows us that the poet's fidelity to that relationship sustains his or her development over time, urges the writing toward new levels of discovery, and bestows on readers that most prized of commodities: a feeling of the authentic.

For poets, students of poetry, and that far-flung community of readers for whom the contemporary poem still provides a journey worth taking, this book will present a host of pleasures. Giving Their Word enlarges the frame through which we view the poet's text and yields significant insights into the craft and character of each of these writers.

As a writer, Glenway Wescott (1901–1987) left behind several novels, including The Grandmothers and The Pilgrim Hawk, noted for their remarkable lyricism. As a literary figure, Wescott also became a symbol of his times. Born on a Wisconsin farm in 1901, he associated as a young writer with Hemingway, Stein, and Fitzgerald in 1920s Paris and subsequently was a central figure in New York’s artistic and gay communities. Though he couldn’t finish a novel after the age of forty-five, he was just as famous as an arts impresario, as a diarist, and for the company he kept: W. H. Auden, Christopher Isherwood, Marianne Moore, Somerset Maugham, E. M. Forster, Joseph Campbell, and scores of other luminaries.
     In Glenway Wescott Personally, Jerry Rosco chronicles Wescott’s long and colorful life, his early fame and later struggles to write, the uniquely privileged and sometimes tortured world of artistic creation. Rosco sensitively and insightfully reveals Wescott’s private life, his long relationship with Museum of Modern Art curator Monroe Wheeler, his work with sex researcher Alfred Kinsey that led to breakthrough findings on homosexuality, and his kinship with such influential artists as Jean Cocteau, George Platt-Lynes, and Paul Cadmus.

Glimmering Girls tells the story of three extraordinary American women during a time of sexual and cultural repression. Francie and her friends Liz and Amanda are college students, coming of age intellectually, emotionally, and physically in a setting where men were forbidden entry to women's dorm rooms, and women were locked into those rooms after curfew. College life for women was governed by one simple, cardinal rule: Marry Before Graduation or Be Lost Forever. Any thirst for adventure was supposed to be satisfied by the occasional panty raid. Francie and friends, however, find all this hard to swallow, and they resist their appointed futures as elementary school teachers and holders of the precious "MRS" degree. Doing the unthinkable, the three move off campus to live in a house with three men-Liz's boyfriend and two handsome, mysterious Southern twins who fix foreign cars in a shop off campus. There the young women's rebellion against expectations deepens, and they begin the real-world education of pursuing their dreams. Francie yearns to be a writer, and is encouraged by her Russian literature professor. Then she meets Joshua, a talented and dedicated piano student, who presents the ultimate challenge: does she maintain her "virtue," or give in to her sexual desires, finally breaking fully free of repressive "respectability"? Glimmering Girls follows Francie, Liz, and Amanda through this and other discoveries and adventures. Ultimately, each finds a way to live fully at a time when their entire culture seemed arrayed against them.

The aftermath of Franz Kafka’s love affair with Dora Diamant is legend: refusing to honor his instructions to destroy his work when he died, Diamant saved Kafka’s writings and letters that were in her possession. These were later taken by the Nazis and are still being sought today. Her importance for Kafka’s literary legacy makes their all-too-brief relationship even more intriguing. Set over the course of his last year, The Glory of Life is compelling fictional re-imagining of this fragile, tender romance. 

In July 1923, Kafka is convalescing by the Baltic Sea when he meets Diamant and they fall in love. He is forty years old and dying of tuberculosis; she is twenty-five and seems to him the essence of life. After a tentative first meeting, the indecisive Kafka moves with Diamant to Berlin, a city in the throes of political upheaval, rising anti-Semitism, and the turmoil of Weimar-era hyperinflation. As his tuberculosis advances, they are forced to leave the city for the Kierling Sanatorium near Vienna, a move that threatens the paradise they have created.

The first of Kumpfmüller’s novels to appear in English after his acclaimed The Adventures of a Bed Salesman, The Glory of Life is a meticulously researched and poignant portrait of one of the most enduring authors in world literature. Beautifully crafted, this book is an evocative rumination on the power of love and friendship.

Christ’s nemesis Judas Iscariot remains a shadowy figure in the four canonical gospels, which give contradictory reasons for why this rogue disciple betrays Christ. But how would Judas himself explain his motives? 
 
In Glory, Italian modernist Giuseppe Berto’s final novel, Judas finally tells his side of the story. From his perspective, Jesus is the betrayer, a would-be political activist and social reformer who fails to live up to his promises. And by fulfilling his predestined role in the drama of Christ’s death and resurrection, Judas himself is partly responsible for humanity’s salvation, enabling them to be redeemed by Christ’s sacrifice. As the novel probes into the psychological motivations behind his rejection of Jesus’ authority, Judas emerges as a compelling conflicted character, a man who seeks to have agency even when he knows his actions are being scripted by a higher power. Through Judas’s searing tortured monologues, this late masterpiece from one of Italy’s greatest writers investigates deep questions about the nature of faith, rebellion, fate, and free will. 

 

 

Now in paperback, Benyamin's wry and tender telling transforms the strange and bitter comedy of Najeeb’s life in the desert into a universal tale of loneliness and alienation.

In the southern Indian state of Kerala, Najeeb’s dearest wish is to work in a Persian Gulf country and earn enough money to send some back home. One day, he finally achieves this dream, only to be propelled by a series of incidents—grim and absurd—into a slave-like existence, herding goats in the middle of the Saudi desert. Memories of his loving family and of the lush, verdant landscape of his village haunt Najeeb, whose only solace is the companionship of goats. In the end, the lonely young man is forced to contrive a hazardous scheme to escape his desert prison.

An instant bestseller in India, Goat Days is available for the first time in English, translated by Joseph Koyippally. Benyamin is a brilliant new talent of Malayalam literature and his wry and tender telling transforms the strange and bitter comedy of Najeeb’s life in the desert into a universal tale of loneliness and alienation.

Now in paperback, a comic and moving collection of stories of grumpy old men who start to find unexpected connections with the world.

The thirteen stories of Michael Krüger’s The God behind the Window capture the poignancy and cynicism of late life through tales of misanthropic old men full of the mixture of wisdom and melancholy that so often accompanies old age. In Krüger’s stories, world-weary characters seek—and only temporarily find—solace in nature and culture, rendering their search for a better life simultaneously comedic and heart wrenching. From a solitary hiker in the Swiss Alps to the book’s eponymous shut-in, these aging malcontents are continually surprised by the unexpected interventions of a world that has come to seem predictable. Krüger captures this stage in life masterfully, contrasting the deeply personal emotions of affection, melancholy, and longing with an indifferent world. The resulting stories are lyrical, philosophical, and tender despite their cynicism.

In the remote mill town of Salmon Falls, Vermont, the dead of winter can feel like death itself. Jobs are scarce, kids are bored, and it sometimes seems there’s nothing better to do than drink. But when eighteen-year-old Kyle Nelson and a motley group of friends decide to challenge both the legal drinking age and the local drinking culture with a daring act of civil disobedience, they find there’s more to do than they ever imagined. Garret Keizer’s gripping novel about young men and women in revolt bears witness to the power of ideas, the bonds of friendship, and the trials of working-class kids on the margins of American society. His story never flinches in the face of those forces that conspire against, but needn’t overcome, the resilient spirits of the young.

An artful and gripping new novel that recounts the human and environmental damage caused by actual disasters in Simi Valley, California

In award-winning legal scholar and novelist Yxta Maya Murray’s new novel, federal agent Reyna Rodriguez reports on a real-life nuclear reactor meltdown and accidents that occurred in 1959, 1964, and 1968 at the Santa Susana Field Laboratory. An infamous research and development complex in California’s Simi Valley, the lab was eventually dismantled by the US government—but not before it created a toxic legacy of contamination and numerous cancer clusters. Toxins and nuclear residue may have been further released by the 2018 Woolsey Fire and 2019 floods in the area.

God Went Like That takes the form of an EPA report in which Reyna presents riveting interviews with individuals affected by the disasters. With imagination and artistry, Murray brings to life an actual 2011 Department of Energy dossier that detailed the catastrophes and the ensuing public health fallout and highlights the high costs of governmental malfeasance and environmental racism.

Following in the footsteps of the storytellers of his native India, R. K. Narayan has produced his own versions of tales taken from the Ramayana and the Mahabarata. Carefully selecting those stories which include the strongest characters, and omitting the theological or social commentary that would have drawn out the telling, Narayan informs these fascinating myths with his urbane humor and graceful style.

"Mr. Narayan gives vitality and an original viewpoint to the most ancient of legends, lacing them with his own blend of satire, pertinent explanation and thoughtful commentary."—Santha Rama Rau, New York Times

"Narayan's narrative style is swift, firm, graceful, and lucid . . . thoroughly knowledgeable, skillful, entertaining. One could hardly hope for more."—Rosanne Klass, Times Literary Supplement

This is a book about collective guilt, individual fate, and repentance, a tale that explores how we can come to be responsible for crimes we neither directly commit nor have the power to prevent. Set in the Czechoslovakian borderland shortly after WWII amid the sometimes violent expulsion of the region’s German population, Jaroslav Durych’s poetic, deeply symbolic novel is a literary touchstone for coming to terms with the Czech Republic’s difficult and taboo past of state-sanctioned violence.

A leading Catholic intellectual of the early twentieth century, Durych became a literary and political throwback to the prewar Czechoslovak Republic and faced censorship under the Stalinist regime of the 1950s. As such, he was a man not unfamiliar with the ramifications of a changing society in which the minority becomes the rule-making political authority, only to end up condemned as criminals. Though Durych finished writing God’s Rainbow in 1955, he could not have hoped to see it published in his lifetime. Released in a still-censored form in 1969, God’s Rainbow is available here in full for the first time in English.

The first English translations of the original novellas about the iconic kaijū Godzilla

Godzilla emerged from the sea to devastate Tokyo in the now-classic 1954 film, produced by Tōhō Studios and directed by Ishirō Honda, creating a global sensation and launching one of the world’s most successful movie and media franchises. Awakened and transformed by nuclear weapons testing, Godzilla serves as a terrifying metaphor for humanity’s shortsighted destructiveness: this was the intent of Shigeru Kayama, the science fiction writer who drafted the 1954 original film and its first sequel and, in 1955, published these novellas. 

 

Although the Godzilla films have been analyzed in detail by cultural historians, film scholars, and generations of fans, Kayama’s two Godzilla novellas—both classics of Japanese young-adult science fiction—have never been available in English. This book finally provides English-speaking fans and critics the original texts with these first-ever English-language translations of Godzilla and Godzilla Raids Again. The novellas reveal valuable insights into Kayama’s vision for the Godzilla story, feature plots that differ from the films, and clearly display the author’s strong antinuclear, proenvironmental convictions.

 

Kayama’s fiction depicts Godzilla as engaging in guerrilla-style warfare against humanity, which has allowed the destruction of the natural world through its irresponsible, immoral perversion of science. As human activity continues to cause mass extinctions and rapid climatic change, Godzilla provides a fable for the Anthropocene, powerfully reminding us that nature will fight back against humanity’s onslaught in unpredictable and devastating ways.

 

 

Retail e-book files for this title are screen-reader friendly.

This collection of four stories by the writer George Steiner called “one of the masters of European fiction” is, as longtime fans of Thomas Bernhard would expect, bleakly comic and inspiringly rancorous. The subject of his stories vary: in one, Goethe summons Wittgenstein to discuss the Tractatus Logico-Philosophicus; “Montaigne: A Story (in 22 Installments)” tells of a young man sealing himself in a tower to read; “Reunion,” meanwhile, satirizes that very impulse to escape; and the final story rounds out the collection by making Bernhard himself a victim, persecuted by his greatest enemy—his very homeland of Austria. Underpinning all these variously comic, tragic, and bitingly satirical excursions is Bernhard’s abiding interest in, and deep knowledge of, the philosophy of doubt.

Bernhard’s work can seem off-putting on first acquaintance, as he suffers no fools and offers no hand to assist the unwary reader. But those who make the effort to engage with Bernhard on his own uncompromising terms will discover a writer with powerful comic gifts, penetrating insight into the failings and delusions of modern life, and an unstinting desire to tell the whole, unvarnished, unwelcome truth. Start here, readers; the rewards are great.

In Granada, a boy in a dress begs in the white alleys of the old town. A vulnerable runaway, he turns to an American painter who is living in the city for protection, Madeleine James. The boy also meets Madeleine's new friend, poet Cy Jacobs. Although the two adults mean to help the boy, they unwittingly expose him to more peril. Soon, all the characters in the story have been scraped on the touchstone of hard realities and made to show their mettle, be it base or gold. This novel, at times somber and at times flaring with intensity, calls up indelibly the difficulties of making a good life—or a good death—in a world in which we are all, in one way or another, going.

Maggie Foltz is a fifty-five-year-old cocktail waitress in a rundown casino in the southern Nevada Mojave Desert. She spends her days serving drinks to lonely old folks playing the slot machines and her nights trying to escape her bitter past. When she befriends Sarah, a young Native American woman who is hired to cook in the casino coffee shop, her life begins to change. Maggie finds herself falling in love with a memory-haunted Vietnam veteran and warily begins to hope that together they can find peace. Then Sarah is mysteriously murdered, and Sarah’s ghost enlists Maggie to accompany her on a quest for the wisdom that she needs in order to move into the next world. The story ranges from smoky casinos into the harsh magnificence of the desert and the reservation where Sarah’s people are trying to preserve their culture and find their own place in a modern world that seems to want them to be either shamans or losers. Sojourner’s characters are compellingly real, and the Mojave setting has rarely been depicted as sensitively or truthfully. This is a memorable story of love, redemption, and solace, told by one of the West’s finest writers.

In midcentury America, the golden age of television, a man named Golk is wreaking havoc with the medium. Through a devastating series of exposures—"You're on Camera"—Golk manipulates the high and mighty, the lowdown and dirty, and the outrageous weird; all are within the compass of Richard Stern in this early novel, a comedy with as many inspired maneuvers as its rambunctious protagonist has for taking the measure of a profligate world.

"Golk is a rich and marvelously detailed novel by a man with a cultivated intelligence; it is also the first really good book I have read about television."—Norman Mailer

"An original: sharp, funny, intelligent, rare. . . . Working in a clean, oblique style reminiscent of Nathanael West, Mr. Stern has written in Golk a first-rate comic novel, a piece of fiction that is at once about and loaded with that kind of recognition that junkies call the flash."—Joan Didion, National Review

"Golk is fantastic, funny, bitter, intelligent without weariness. Best of all Golk is pure—that is to say necessary. Without hokum."—Saul Bellow

"Golk (like Golk himself) is a wonderous conception. Its world responds to personification, not analysis, and personify it Mr. Stern has done. A book in a thousand."—Hugh Kenner

"What I like about Mr. Stern's fantasy is that it has been conceived and written with so much gaiety. Far from a political melodrama, it reminds me of a René Clair movie, and even the surrealist touches needed to bring out the power and pretense of the television industry are funny rather than symbolically grim."—Alfred Kazin, Reporter

"A mighty good book, altogether alive, full of beans and none of them spilled."—Flannery O'Connor

In her anticipated second novel, Karla Holloway evokes the resilience of a family whose journey traces the river of America’s early twentieth century. The Mosby family, like other thousands, migrate from the loblolly-scented Carolinas north to the Harlem of their aspirations—with its promise of freedom and opportunities, sunlit boulevards, and elegant societies.

The family arrives as Harlem staggers under the flu pandemic that follows the First World War. DeLilah Mosby and her daughter, Selma, meet difficulties with backbone and resolve to make a home for themselves in the city, and Selma has a baby, Chloe. As the Great Depression creeps across the world at the close of the twenties, however, the farsighted see hard times coming.

The panic of the early thirties is embodied in the kidnapping and murder of the infant son of the nation’s dashing young aviator, Charles Lindbergh. A transfixed public follows the manhunt in the press and on the radio. Then Chloe goes missing—but her disappearance does not draw the same attention. Wry and perceptive Weldon Haynie Thomas, the city’s first “colored” policeman, takes the case.

The urgent investigation tests Thomas’s abilities to draw out the secrets Harlem harbors, untangling the color-coded connections and relationships that keep company with greed, ghosts, and grief. With nuanced characters, lush historical detail, and a lyrical voice, Gone Missing in Harlem affirms the restoring powers of home and family.

". . . a smart, sprightly, sex-drenched, and neatly plotted novel . . ."
---Alan Cheuse, National Public Radio and the Chicago Tribune

"Spark is at her sly, funny, and cutting best in her third novel, a clever and affecting variation on the biblical story of Esther."
---Booklist

"Spark's prose is tight, funny, insightful and occasionally heartbreaking as it probes the current education system, the arts and society's ills."
---Publishers Weekly

Good for the Jews is a smart, funny, sexy novel set in Madison, Wisconsin, during the Bush administration. Part mystery and part stranger-comes-to town story, Good for the Jews is loosely based on the biblical book of Esther. Like Esther, Debra Spark's characters deal with anti-Semitism and the way that powerful men---and the women who love them---negotiate bureaucracies.

At the core of the story of right and wrong are young, attractive Ellen Hirschorn and her older cousin Mose, a high school teacher who thinks he knows, in fact, what is "good for the Jews"---and for Ellen, too. Their stories intertwine with those of the school superintendent, his ex-wife and son, and a new principal. Workplace treachery, the bonds of family, coming of age, and romantic relationships all take center stage as the characters negotiate the fallout from a puzzling fire.

Spark's evocative writing style and sharp, understanding treatment of her diverse characters draw the reader into this surprising page-turner, a finalist for the 2009 ForeWord Magazine Book of the Year Award.

Debra Spark is the author of two previous novels, The Ghost of Bridgetown and Coconuts for the Saint, as well as Curious Attractions: Essays on Fiction Writing. She's been a fellow at Radcliffe College's Bunting Institute and a recipient of a National Endowment for the Arts award. Her short stories, essays, and reviews have appeared in publications including Food and Wine, Esquire, the New York Times, the Washington Post, and Yankee. She is a professor at Colby College and teaches in the MFA Program for Writers at Warren Wilson College. She lives with her husband and son in North Yarmouth, Maine.

In Alberto Álvaro Ríos’s new picaresque novel, momentous adventure and quiet connection brings twenty people to life in a small town in northern Mexico. A Good Map of All Things is home to characters whose lives are interwoven but whose stories are their own, adding warmth and humor to this continually surprising communal narrative. The stories take place in the mid-twentieth century, in the high desert near the border—a stretch of land generally referred to as the Pimería Alta—an ancient passage through the desert that connected the territory of Tucson in the north and Guaymas and Hermosillo in the south. The United States is off in the distance, a little difficult to see, and, in the middle of the century, not the only thing to think about. Mexico City is somewhere to the south, but nobody can say where and nobody has ever seen it.

Ríos has created a whimsical yet familiar town, where brightly unique characters love fiercely and nurture those around them. The people in A Good Map of All Things have secrets and fears, successes and happiness, winters and summers. They are people who do not make the news, but who are living their lives for the long haul, without lotteries or easy answers or particular luck. Theirs is the everyday, with its small but meaningful joy. Whether your heart belongs to a small town in Mexico or a bustling metropolis, Alberto Álvaro Ríos has crafted a book that is overflowing with comfort, warmth, and the familiar embrace of a tightly woven community.

Thirteen-year-old Matt Echbar is angry at the world. His widowed father is too busy for him, and his grandfather is an embarrassment, an unschooled Basque shepherd whose language and customs are completely alien to Matt’s all-American lifestyle. Things get worse when the grandfather steals a flock of sheep and dragoons Matt into helping him drive them to a secret camp in the Arizona mountains. The ensuing adventure is one of the most compelling and delightful coming-of-age novels in recent fiction. As Matt and his aitatxi, accompanied by their two faithful sheepdogs, drive the flock across the burgeoning suburbs of Phoenix and into the remote mountains, the boy learns the ancient skills of the sheepherder and discovers the unexpected wisdom that has given his Old Country grandfather the strength and patience of a sturdy oak. By the time the journey reaches its fateful conclusion, Matt has developed a new bond with the old man and has learned that true manhood includes accepting one’s heritage. 

This distinctive collection introduces a new type of mythmaking, daring in its marriage of fairy tale tropes with American mundanities. Conspiratorial, Goodbye, Flicker describes the interior life of a girl whose prince is a deadbeat dad and whose escape into a fantasy world is also an escape into language, beauty, and the surreal.

In the aftermath of the early 2000s dot-com bust, the people of San Jose, California face a changing landscape of lost dreams and careers gone awry. It’s in this setting that Katherine Watson, a forty-seven-year-old event planner and mother of two, moves back into her childhood home with her teenage son, Carter. They live with her aging father, who is undergoing palliative care for prostate cancer. Katherine’s husband, Scott, has gone missing after his risky investments failed and they were forced to sell their dream home.

In this multigenerational family story, Katherine, Carter, and Scott all try to navigate an evolving world in the Golden State that doesn’t seem quite so golden any longer. Scott returns and hopes to restore and recreate their past happiness, Katherine contemplates divorce and explores new love along the way, and Carter works to find a place for himself in a new school among classmates who are hostile to him.

The characters fervently chase their dreams across Silicon Valley and beyond, from the gleaming office parks of Cupertino to a self-help seminar on the Las Vegas Strip and an underfunded high school theater production of The Tempest. The one element tying them all together is the house of the title, a 1950s tract home that once represented happiness and now holds the family close in its protective embrace, until, in the end, even this constant changes.

Montserrat Roig’s first novel, Goodbye, Ramona (1972), is a powerhouse story told through the points of view of three generations of women from the same family. Opening with scenes of a pregnant woman looking for her husband after the bombing of Barcelona’s Coliseum, Goodbye, Ramona explores the role of family, women’s relationships with men, the influence the weight of history and events out of women’s control have on them, and the silence in which women live their lives. Sweeping and dynamic, the historical and social mosaic of late nineteenth- and early twentieth-century Spain is seen through the lives and experiences of these female characters.

Good-bye, Son and Other Stories, Janet Lewis’s only collection of short fiction, was first published in 1946, but remains as quietly haunting today as it was then. Set in small communities of the upper Midwest and northern California in the ’30s and ’40s, these midcentury gems focus on the quiet cycles connecting youth and age, despair and hope, life and death. A mother’s encounters with her deceased son, an aging woman sitting with the new knowledge of her troubled older sister’s death, and a teenager disillusioned by her own mortality are among the characters, mostly women and girls, whom Lewis delivers. Her understated style and knack for unadorned observation embed us with them as they reckon with the disquieting forces—incomprehensible and destructive to some, enlightening to others—that move us from birth, through life, to death. In the process, Lewis has crafted a paean to the living.

Goshen Road is an elegiac, unvarnished, and empathetic portrait of one working-class family over two decades in rural West Virginia, with sisters Dessie and Billie Price as its urgently beating heart. Bonnie Proudfoot captures them, their husbands, and their children as they balance on the divide between Appalachia old and new, struggling for survival and reconciling themselves with past hurts and future uncertainties as the economy and culture shift around them. The story opens in 1967 with a logging accident and the teenaged Lux Cranfield’s headlong plunge into the courtship of Dessie—a leap he takes not only in the wake of his near-death experience but to exchange his bitter home life for a future with the Prices, a family that appears to have the stability and peace that his own lacks. Within the year Lux and Dessie marry. Meanwhile, Dessie’s rebellious younger sister, Billie, fights her way through adolescence with an eye toward an escape of her own, only to land with Lux’s friend Alan Ray Munn and settle into a life of hardship. Ultimately, the voices and passions of Dessie, Billie, Lux, Alan Ray, and the Cranfield children build on one another to create an unforgettable chorus about the promises and betrayals of love—and what it takes to preserve a family when everything else is uncertain.

 

In the dramatic third volume of Robert Laxalt’s trilogy, Leon—the eldest son of immigrant parents—becomes the governor of Nevada during the 1960s. An able lawyer in his own right, he is a neophyte when it comes to dealing with the political ploys of the entrenched officeholders who dominate in Nevada. Leon faces the crisis of his budding political career when he is caught between J. Edgar Hoover’s FBI, bent on cleaning out the Mafia, and his own need to protect the autonomy of his native state. An unexpected ally appears when the only man rich enough to solve the governor’s dilemma comes to Nevada—reclusive billionaire Howard Hughes.

A masterpiece by one of the West’s best-loved authorsJust when Sacramento journalist Marty Martinez thinks his life can’t get any worse, it does. His beloved son has died of AIDS, his wife has divorced him and joined a cult, and his daughter blames him for the disintegration of their family. Then a chance medical examination reveals that he has prostate cancer. Marty faces his new role as a cancer patient with awkward grit and desperation. He is a sympathetic, utterly convincing character seeking faith in a Catholic Church as troubled as he is. He brings increased intensity to his career as he investigates a far-reaching political scandal, reunites his family in unexpected ways, and finds love with a fellow cancer patient. Grace Period is a profound and sometimes hilarious novel about living with serious illness. Marty copes with fear and the painful, sometimes embarrassing, treatment of his disease, but instead of winding down his life he finds fresh purpose and a joyful new love. Haslam brilliantly depicts the complexities of everyday life and the intricate, sometimes tortured bonds of family and friendship. In Grace Period, Haslam shows us that existence at the precarious edge of life offers not only pain and loss but hope, a chance at redemption, love, and even happiness. Grace Period is his masterwork.

A novel at once about social justice, romance, and Gramsci.

Is it possible to fight for social justice if you’ve never really loved another person? Can you save a country if you’re in love? Forty-six-year-old Anton Stöver’s marriage is broken. His affairs are a thing of the past, and his career at the university has reached a dead end. One day he is offered the chance to go to Rome to conduct research on Antonio Gramsci, at one time the leading figure of Italian communism. Once there, he falls obsessively in love with a young woman he has met while continuing to focus his attention on the past: the frail and feverish Gramsci recovering in a Soviet sanatorium. Though Gramsci is supposed to save Italy from Mussolini’s seizure of power, he falls in love with a Russian comrade instead. With a subtle sense of the absurd, Nora Bossong explores the conflicts between having intense feelings for another and fighting for great ideals.

Glenway Wescott’s poignant story of nineteenth-century Wisconsin was first published in 1927 as the winner of the prestigious Harper Prize. Like F. Scott Fitzgerald and Ernest Hemingway, Wescott left the Midwest behind to live as a writer in 1920s Paris. In this novel, based on Wescott’s own life and family, the young Alwyn Tower leaves Wisconsin to travel in Europe, but finds himself haunted by a family of long-dead spirits—his grandparents and great-uncles and aunts, a generation whose young adulthood was shattered by the Civil War. Their images were preserved in fading family albums of daguerreotypes and in his own fragmented memories of stories told to him by his strong and enduring grandmothers. To disinter and finally lay to rest the family secrets that lingered insistently in his mind, Wescott writes, Alwyn was “obliged to live in imagination many lives already at an end.”
    The Grandmothers is the chronicle of Alwyn’s ancestors:  the bitter Henry Tower, who returned from Civil War battlefields to find his beautiful wife Serena lost in a fatal fever; Rose Hamilton, robust and eager, who yearned to leave the cabin of her bearded, squirrel-hunting brothers for the company of courteous Leander Tower; the boy-soldier Hilary Tower, whose worship of his brother made him desperate; fastidious Nancy Tower, whose love for her husband Jesse Davis could not overcome her disgust with the dirt under his fingernails; Ursula Duff, proud and silent, maligned among her neighbors by her venal husband; Alwyn’s parents, Ralph Tower and Marianne Duff, whose happiness is brought about only by the intervention of a determined spinster.

Water, its use and abuse, trickles through Great American Desert, a story collection by Terese Svoboda that spans the misadventures of the prehistoric Clovis people to the wanderings of a forlorn couple around a pink pyramid in a sci-fi prairie. In “Dutch Joe,” the eponymous hero sees the future from the bottom of a well in the Sandhills, while a woman tries to drag her sister back from insanity in “Dirty Thirties.” In “Bomb Jockey,” a local Romeo disposes of leaky bombs at South Dakota’s army depot, while a family quarrels in “Ogallala Aquifer” as a thousand trucks dump chemical waste from a munitions depot next to their land. Bugs and drugs are devoured in “Alfalfa,” a disc jockey talks her way out of a knifing in “Sally Rides,” and an updated Pied Piper begs parents to reconsider in “The Mountain.” The consequences of the land’s mistreatment is epitomized in the final story by a discovery inside a pink pyramid.
 
In her arresting and inimitable style, Svoboda’s delicate handling of the complex dynamics of family and self seeps into every sentence of these first-rate short stories about what we do to the world around us—and what it can do to us.
 

“On the day of the Great Fall he left nothing, nothing at all behind.”
The latest work by Peter Handke, one of our greatest living writers, chronicles a day in life of an aging actor as he makes his way on foot from the outskirts of a great metropolis into its center. He is scheduled to receive a prestigious award that evening from the country’s president, and the following day he is supposed to start shooting for a film—perhaps his last—in which he plays a man who runs amok. While passing through a forest, he encounters the outcasts of the society—homeless people and migrants—but he keeps trudging along, traversing a suburb whose inhabitants are locked in petty but mortal conflicts, crossing a seemingly unbridgeable superhighway, and wandering into an abandoned railyard, where police, unused to pedestrians, detain him briefly on suspicion of terrorism.
 
Things don’t improve when he reaches the heart of the city. There he can’t help but see the alienation characteristic of its residents and the omnipresent malign influence of electronic technology. What, then, is the “Great Fall”? What is this heart-wrenching, humorous, distinctively attentive narrative trying to tell us? As usual, Peter Handke, deeply introspective and powerfully critical of the world around him, leaves it to the reader to figure out.
 

One of the best novels ever to portray the lives of American Communist activists, The Great Midland is a story of love and radical politics set just before World War II. It was published in 1948, when cold-war hysteria engulfed the United States; the publisher subsequently tried to pretend the book did not exist, and review media and bookstores ignored it.

The book vividly depicts the multiracial and multiethnic alliances that developed as Chicago railroad workers struggled to organize. It presents some of its narrative through the complex consciousness of Stephanie Koviak, a young, first-generation Polish-American.
 

On August 20, 1940, Marxist philosopher, politician, and revolutionary Leon Trotsky was attacked with an ice axe in his home in Coyoacán, Mexico. He died the next day.

In The Great Prince Died, Bernard Wolfe offers his lyrical, fictionalized account of Trotsky’s assassination as witnessed through the eyes of an array of characters: the young American student helping to translate the exiled Trotsky’s work (and to guard him), the Mexican police chief, a Rumanian revolutionary, the assassin and his handlers, a poor Mexican “peón,” and Trotsky himself. Drawing on his own experiences working as the exiled Trotsky’s secretary and bodyguard and mixing in digressions on Mexican culture, Stalinist tactics, and Bolshevik history, Wolfe interweaves fantasy and fact, delusion and journalistic reporting to create one of the great political novels of the past century.

When the Alstage Mining Company proposes a frac sand mine in the small Ames County village of Link Lake, events quickly escalate to a crisis. Business leader Marilyn Jones of the Link Lake Economic Development Council heads the pro-mine forces, citing needed jobs and income for the county. Octogenarian Emily Higgins and other Link Lake Historical Society members are aghast at the proposed mine location in the community park, where a huge and ancient bur oak—the historic Trail Marker Oak—has stood since it pointed the way along an old Menominee trail. Reluctantly caught in the middle of the fray is Ambrose Adler, a reclusive, retired farmer with a secret.
            Soon the fracas over frac sand attracts some national attention, including that of Stony Field, the pen name of a nationally syndicated columnist. Will the village board vote to solve their budget problems with a cut of the mining profits? Will the mine create real jobs for local folks? Will Stony Field come to the village to lead protests against the mine? And will defenders of the Trail Marker Oak literally draw a battle line in the sand?

In The Green Eagle Score, Parker cuts his vacation with Claire short with a new job: stealing the entire payroll of an Air Force base in upstate New York. With help from Marty Fusco, fresh out of the pen, and a smart aleck finance clerk named Devers, Parker tries to shorten the odds on the risky job. But the ice is thinner than Parker likes to think—and a wrench always gets thrown in the works.

This edition of Dwight Allen’s acclaimed story collection, The Green Suit, ends with a new story, rounding out a dozen interlinked tales about a well-to-do Kentucky family called the Sackriders. The stories cover a period of forty years, from the Vietnam War to the Age of Foreclosure. Chief among the Sackriders is Peter, son of a judge and a vitamin-pill-popping mother, brother to a sister whose troubles with boys take her far from Kentucky. He is a writer perhaps more in love with women (and, intermittently, men) than he is with words, whose eagerness to be loved leads him into alarming circumstances. He is a man with a yearning for transcendence and a penchant for betrayal.
    The new story finds Sackrider in his mid-fifties, married for a second time, the father of a small child, and all tangled up with his next-door neighbor, an artist who likes to use the corpses of animals in his collages.

After papá’s arrest in 1980, Daniel’s family fled to the United States. Now Daniel has a new life, playing guitar in a rock band and dating Courtney, a minister’s daughter. He hopes to become a US citizen as soon as he turns eighteen.

When Daniel’s father is released and rejoins his family, they see what five years of prison and torture have done to him. Marcelo is partially paralyzed, haunted by nightmares, and bitter about being exiled to “Gringolandia.” Daniel worries that Courtney’s scheme to start a bilingual human rights newspaper will rake up papá’s past and drive him further into alcohol abuse and self-destruction. Daniel dreams of a real father-son relationship, but he may have to give up everything simply to save his papá’s life.

This powerful coming-of-age story portrays an immigrant teen’s struggle to reach his tortured father and find his place in the world.