The Black Rose of Halfeti opens with a letter delivered at midnight in Ankara, Turkey. In this letter, an elderly doctor who has begun to experience the first signs of dementia professes his love and desire for a relationship with the narrator, a woman in middle age beginning to contemplate her own mortality. From there, the novel moves between Mardin, Izmir, and Ankara; the past and the present; and the real and the imagined as the narrator seeks to know the doctor both in his prime and in his struggle to hold senility at bay. In these dreamlike landscapes, the author effortlessly introduces King Darius, the Spanish director Luis Buñuel, the actress Silvia Pinal, and the archetypal dream woman as the narrator’s guides in her efforts to understand the human psyche.

Nazli Eray has established herself as a master of magical realism, the perfect tool to bring to life this poignant meditation on love, aging, and the role of memory. And, as in her earlier novels, she paints vivid images of the urban landscapes of Turkey, capturing both the present and the past.

A fictional return to the unsettling world of Franz Kafka’s iconic unfinished novel, The Castle.

Seth Rogoff's masterful and mesmerizing novel, The Castle, draws inspiration from the enigmatic and incomplete final sentence of Franz Kafka's influential work of the same title. Follow renowned translator Sy Kirschbaum as he finds his way into the deserted landscape of Kafka’s world where the village of Z. lies eerily silent. The inhabitants vanished like phantoms leaving only remnants of their lives.

From these fragments, Kirschbaum pieces together a vision of a world in crisis triggered by the arrival of a stranger named K. To unravel this mystery, not just for the sake of the vanished village of Z. but for the world beyond, Kirschbaum is compelled to venture where K. could not—the deepest core of the castle.

The Castle is built upon lost documents, forgotten stories, and imagined histories. Unbound by the constraints of an authoritarian and doomed reality, Kirschbaum embarks on an extraordinary journey, seeking meaning through the fertile ground of imagination and embracing the inherent paradox of existence.

Valerian Pidmohylnyi’s The City was a landmark event in the history of Ukrainian literature. Written by a master craftsman in full control of the texture, rhythm, and tone of the text, the novel tells the story of Stepan, a young man from the provinces who moves to the capital of Ukraine, Kyiv, and achieves success as a writer through a succession of romantic encounters with women.

At its core, the novel is a philosophical search for harmony in a world where our intellectual side expects rational order, whereas the instinctive natural world follows its own principles. The resulting alienation and disorientation reflect the basic principles of existential philosophy, in which Pidmohylnyi is close to his European counterparts of the day.

An experimental narrative by eco-fiction author and poet Patrick Lawler evolves out of the interactions between twenty-four extinct animals and those characters who struggle for significance in the face of their own extinction.

Patrick Lawler’s second novel, Conversations with Extinct Animal, is a dialogue between psychology and ecology—between poetry and story. A suicide note masquerading as a love letter, the novel transcends genres and keeps kaleidoscopically shifting: sometimes it is an elegy, and sometimes it is a therapy session—but always these are the field notes for the end of the world.

As a collection of characters associated with The Facility come to terms with an individual’s death, they must confront their own losses amid the colossal absence of the twenty-four extinct animals. All the characters float between various inexplicable, mystifying “syndromes” that call into question their identities and, ultimately, call into question the elements of story itself. “Looking at pictures of the Extinct Animals, I can’t help but wonder if it is too late to save the world—especially since there are so many different worlds,” observes the narrator of the novel in his efforts to save the unsavable.

Italian doctor Leonardo Pazzi and Alcesta, his “future lover,” travel through the picturesque, hilly region of Sloboda, near Kharkiv in northeast Ukraine. They experience a series of encounters with local Ukrainians and nature, disappearances, and transformations filled with paradoxes. The characters are bright, marionette-like caricatures whom the author constructs and moves ostentatiously in full view of the reader, revealing his artistic devices with a sense of absurd, mischievous humor.

A novel of exuberance and whim that deconstructs the very principles of writing and estranges everyday phenomena, Dr. Leonardo’s Journey marks the highpoint of Ukrainian modernism right before it was violently cut down by Stalin’s repressions. The novel shifts away from character or plot as such and instead celebrates the places and spaces in which these things come into being, and the sheer joy of movement and experience. In this sense, Maik Yohansen’s heroes echo Mykola Hohol, whose tour through Russia’s vast spaces in Nikolai Gogol’s Dead Souls is an obvious reference point, and Laurence Sterne, whose irreverent narrative style and textual games Yohansen emulates. Presented here in a contemporary, deft English translation, the novel is a must read for everyone interested in discovering the rich heritage of Ukrainian modernism.

Earth Gods presents the early writings of Taras Prokhasko, one of Ukraine’s most prominent contemporary writers. Collected here for the first time in one book, these works span various genres yet form a single chronicle. Anna’s Other Days, Prokhasko’s first publication, testifies to the desire to free Ukrainian culture of overt influences of voices, styles, and genres that have dominated it for centuries. FM Galicia collects reflections delivered by the author at a Ukrainian radio show over a five-month period. Emphasizing the relevance of the oral genre as the origin of the text, Prokhasko has created a unique diary that strives to exist outside of literature and invites the reader to meditate on the human condition. The UnSimple—a novel whose action unfolds between the two world wars near Ialivets, in the Ukrainian Carpathian Mountains—documents the collapse of the grand narratives of the past, embodied here by the Carpathian earth gods who, despite their magical powers, are unable to save the patriarchal community they’ve been entrusted with from being overrun by the forces of modernization.

A master of reflexive, finely nuanced prose, Prokhasko weaves together narrative strands testifying to the sophistication and integration of Ukrainian culture with the world.

Asks who gets the right to call themselves a good person in a morally bankrupt world

In The Flat Woman, women exclusively are blamed for the climate crisis. Seagulls drop dead from the sky, and the government, instead of taking responsibility, scapegoats a group of female ecoterrorists. When a girl’s mother is incarcerated for climate crimes, she is forced to raise herself alone. As a young woman, she begins a romance with an environmental activist whose passion makes her question her own role in the world. By turns hilarious, deadly serious, and completely absurd, The Flat Woman asks who gets the right to call themselves a good person in a world ripe with disaster.

Driven by complex academic and moral questions, The Flat Woman is certain to appeal to fans of feminist and experimental literature, as well as fans of Margaret Atwood, Renee Gladman, Bhanu Kapil, Maggie Nelson, Kelly Link, and Anne Carson.

“A deep and howling portrait of longing and loneliness.” —Boston Globe
“A distinctive debut from a promising author.” —Kirkus Reviews
“A stunner from the very first page.” —Deesha Philyaw, author of The Secret Lives of Church Ladies, in the Millions
And praise from Ann Patchett, Alice McDermott, Danielle Evans, Elisa Albert, and Aimee Bender

Populated with lovers who leave and return, with ghosts of the Holocaust and messages from the dead, Courtney Sender’s debut collection speaks in a singular new voice about the longings and loneliness of contemporary love. The world of these fourteen interlocking stories is fiercely real but suffused with magic and myth, dark wit, and distinct humor. Here, ancient loss works its way deep into the psyche of modern characters, stirring their unrelenting lust for life.

In “To Do With the Body,” the Museum of Period Clothes becomes the perfect setting for a bloody crime. In “Lilith in God’s Hands,” Adam’s first wife has an affair in the Garden of Eden. And in the title story, a woman spends her life waiting for any of the men who have left her to come back, only to find them all at her doorstep at once.

For readers of Elena Ferrante, Nicole Krauss, and Carmen Maria Machado, and for anyone who has known love and loneliness, In Other Lifetimes All I’ve Lost Comes Back to Me is a wise and sensual collection of old hauntings, new longings, and unexpected returns, with a finale that is a rousing call to the strength we each have, together or alone.

In Marimo, Mon Amour, an “accidental” bureaucratic data collapse leads to a swift and silent quarantine. Zinger Zingiber—erased from official records—is furloughed from her part-time roles as a dumpling-maker and asylum specialist. Sequestered in her apartment with only her pet moss ball, Marimo, for company, she reflects on isolation, grief, and the slipperiness of memory, bearing witness to a world suspended in time. Her narration blurs the line between dream and reality as she mourns lost connections, interrogates authority, and clings to the beauty of small, ephemeral moments.

Faris argues that by combining realistic representation with fantastic elements so that the marvelous seems to grow organically out of the ordinary, magical realism destabilizes the dominant form of realism based on empirical definitions of reality, gives it visionary power, and thus constitutes what might be called a "remystification" of narrative in the West. Noting the radical narrative heterogeneity of magical realism, the author compares its cultural role to that of traditional shamanic performance, which joins the worlds of daily life and that of the spirits. Because of that capacity to bridge different worlds, magical realism has served as an effective decolonizing agent, providing the ground for marginal voices, submerged traditions, and emergent literatures to develop and create masterpieces. At the same time, this process is not limited to postcolonial situations but constitutes a global trend that replenishes realism from within.

In addition to describing what many consider to be the progressive cultural work of magical realism, Faris also confronts the recent accusation that magical realism and its study as a global phenomenon can be seen as a form of commodification and an imposition of cultural homogeneity. And finally, drawing on the narrative innovations and cultural scenarios that magical realism enacts, she extends those principles toward issues of gender and the possibility of a female element within magical realism.

A collection of 56 flash fictions, micro-essays, and contemporary fables about the burden on women and families.

The Pillow Museum is a collection of 56 flash fictions, micro-essays, and contemporary fables set in various simulacra of our world. Claire Bateman’s gorgeous prose captures the imagination with closely observed details of people and places that are startlingly familiar yet unreal, where nothing can be taken for granted, including narrative logic: "It was snowing the night they had the fight about the glass piano whose music provided all the light in the house."

In an authoritative voice that offers no apologies or justifications, The Pillow Museum evokes a closely observed slipstream strangeness that refuses to take any moment or detail for granted—a fruitful, delirious disruption.

2025 PEN America Finalist, Robert W. Bingham Prize for Debut Short Story Collection

2025 National Book Award Honoree, "5 Under 35" 

2025 Gold Medal, Independent Publishing Book Awards (IPPY): Short Fiction

A hybrid of short works exploring the 1859 Carrington solar flare

A flood of illumination, a cosmic cataclysm frozen in time—the Carrington Event of 1859 was the most disruptive solar flare in recorded history, an electromagnetic storm that wiped out telegraph systems across the world and which, if it were to occur today, might well destroy anything on the planet with an electrical circuit.

Candace Nunag’s A Solar Flare is a hybrid of short essays, research notes, poems, graphite rubbings, and instant photographs, as well as bits of flash fiction, all simultaneously contemplating technology and memory, while preoccupied with the 1859 solar flare. The ghost of the Carrington Event haunts A Solar Flare with the promise of definitive answers about the narrator’s many severed connections: her digital, supernatural, eastern, western, and analog past. It is an attempt to illuminate the path of thought, wending its way through the tangles of rumination and irreconcilable spaces of wonder.

In a town trapped in endless July, love, resistance, and imagination break the loop.

Enter a world where time stands still and summer never ends. In the enchanted town of Tannery Bay, it’s July 37, and then July 2 again, but the year is a mystery. Trapped in an eternal loop, the residents embark on an extraordinary journey of self-discovery, unity, and defiance against the forces that seek to divide them. 

Otis and Joy, intrepid siblings, work with their family and friends to oppose a formidable adversary: The Owners. These cunning and ruthless old men, driven by insatiable greed, hold the town hostage, exploiting its resources and dividing its people. In this powerful #OwnVoices narrative, Tannery Bay is a captivating tale of Black Joy and Queer Joy and the ways in which family is both biological and chosen, where love transcends boundaries, and where art is a vehicle for change.