Sometimes it's possible to pick up a book and hear the words being spoken by the characters as if you were sitting across the table from them. This is the sensation you'll have as you read through The Handywoman Stories by Lenore McComas Coberly.

Whether the story describes the civil defense preparations of a small West Virginia town in World War II, the same town years later dealing with an influx of hippies, or the return of a woman to her roots after decades up north, the voices are convincing and true. “I nearly got kicked in the head by a cow before I learned that if you use your full strength pulling milk, you won’t get much milk,” says one. “To see Zevelda the way she was that Sunday is, well, not something you're very likely to see,” says another.

The Handywoman Stories themselves are driven by characters shaped by the place they have lived most all of their lives. They deal with economic depression, mine and war deaths, the arrogance of community leaders, and what might have been, but was not, a stultifying environment. Their tools are astonishing resourcefulness, steadfast friendship, and always humor.

Lenore McComas Coberly has woven together a bittersweet community of strong Appalachian women and men in this remarkable collection. Moving and joyful, these stories are made from the stuff of life.

In Ann Harleman's remarkable debut collection, men and women of extraordinary passions look for and sometimes find the hidden heart of ordinary life. Testing themselves and each other, they search for ways to connect. "Understanding," says the troubled voyeur-narrator of "Imaginary Colors," "is the booby prize"; these characters go for experience. Reckless explorers of inner space, they try the limits of their lives.

A gravely ill woman seeks forgiveness from her grown-up daughters for an adulterous past which she does not really regret. A boy watches anxiously—and enviously—while his brother flaunts an interracial love affair in front of their dangerous father. In strike-torn Warsaw during the rise of Solidarity, an American professor and his Polish housekeeper reach toward each other from their respective cages of loneliness. A girl's determined pursuit of her first sexual experience brings her more, and less, than she bargained for.

Harleman combines a clear eye with a generous heart, revealing her characters-misguided, selfish, loving, brave—through a compassionate, often humorous probing of their inner and outer worlds. In "It Was Humdrum" a system analyst hires a detective to find the mother who left him as an infant, while his young wife leaves him daily for afternoon trysts with her Puerto Rican lover. A woman assaulted by a teenage gang escapes physically unharmed but forever changed. The past overtakes a woman who has married for love, not of her husband, but of his small daughter. A greeting card poet pursued by stereotyped images of happiness flees from the woman he loves and the brother he never knew he had.

The supple language of these twelve stories—wise, funny, delighting in the sensuous—makes us feel the beauty and terror of a fully lived life. Harleman's characters, whether they succeed or fail, show us the way to a deeper exploration of our own lives.

The characters in Happy Like This are smart girls and professional women—social scientists, linguists, speech therapists, plant physiologists, dancers—who search for happiness in roles and relationships that are often unscripted or unconventional. In the midst of their ambivalence about marriage, monogamy, and motherhood and their struggles to accept and love their bodies, they look to other women for solidarity, stability, and validation. Sometimes they find it; sometimes they don’t. Spanning a wide range of distinct perspectives, voices, styles, and settings, the ten shimmering stories in Happy Like This offer deeply felt, often humorous meditations on the complexity of choice and the ambiguity of happiness.

One of the preeminent authors of the early twentieth century, Susan Glaspell (1876–1948) produced fourteen ground-breaking plays, nine novels, and more than fifty short stories. Her work was popular and critically acclaimed during her lifetime, with her novels appearing on best-seller lists and her stories published in major magazines and in The Best American Short Stories. Many of her short works display her remarkable abilities as a humorist, satirizing cultural conventions and the narrowness of small-town life. And yet they also evoke serious questions—relevant as much today as during Glaspell’s lifetime—about society’s values and priorities and about the individual search for self-fulfillment. While the classic “A Jury of Her Peers” has been widely anthologized in the last several decades, the other stories Glaspell wrote between 1915 and 1925 have not been available since their original appearance. This new collection reprints “A Jury of Her Peers”—restoring its original ending—and brings to light eleven other outstanding stories, offering modern readers the chance to appreciate the full range of Glaspell’s literary skills.
       Glaspell was part of a generation of midwestern writers and artists, including Sherwood Anderson, Sinclair Lewis, Willa Cather, and F. Scott Fitzgerald, who migrated first to Chicago and then east to New York. Like these other writers, she retained a deep love for and a deep ambivalence about her native region. She parodied its provincialism and narrow-mindedness, but she also celebrated its pioneering and agricultural traditions and its unpretentious values. Witty, gently humorous, satiric, provocative, and moving, the stories in this timely collection run the gamut from acerbic to laugh-out-loud funny to thought-provoking. In addition, at least five of them provide background to and thematic comparisons with Glaspell’s innovative plays that will be useful to dramatic teachers, students, and producers.
      With its thoughtful introduction by two widely published Glaspell scholars, Her America marks an important contribution to the ongoing critical and scholarly efforts to return Glaspell to her former preeminence as a major writer. The universality and relevance of her work to political and social issues that continue to preoccupy American discourse—free speech, ethics, civic justice, immigration, adoption, and gender—establish her as a direct descendant of the American tradition of short fiction derived from Hawthorne, Poe, and Twain.

Set mainly in the small towns of Alabama, the stories in Her Kind of Want ache with the relentless longing of the poor, struggling, usually discarded southern women who tell us their lives—lives that seem to revolve around men whose only presence is their absence.

Bebe, Luna, Melly, Little Hula, Dena. These are just a few of the women we meet in Jennifer Davis's award-winning collection. Women who married too fast, had children too young, and drink too much. Yet beneath their unpolished exteriors, these women are flesh and blood, and their wants and needs are as severe and deep as any.

Davis's characters relate their stories in voices as complex and raw as their southern environment. Each tale may sound slightly familiar—an unwanted pregnancy, a fast car flying down a country road—but Davis moves beyond the familiar stories of the rural South to expose the gaps that connect these women, creating startlingly real and vibrant characters.

Although often bleak and sometimes disturbing, Her Kind of Want is a celebration of southern people, their perseverance, their spirit, and their determination to make the ugly beautiful.

The stories in Merrill Feitell’s award-winning collection, Here Beneath Low-Flying Planes, examine the fleeting and unexpected moments of human connection, reminding us of the indelible impact we have on one another no matter how insignificant or anonymous we might feel under our huge, collective sky.

Feitell’s characters deal with shifting dynamics in relationships—whether they be best friends, lovers, family, or even strangers—that consistently leave them torn between two places or commitments. In the title story, Janie has undergone a painful childbirth experience and her group of friends must pioneer new dynamics while she wonders how to bring her old self back. In “Bike New York!” amid thirty thousand cyclists, a man on the brink of marriage meets a young girl who, in a tiny Brooklyn bakery, affirms both who he has been and who he is going to be. On this short detour from normal life he comes to understand “the funny thing about finding your way in the world. There was a place laid out for you . . . and even as you stepped into it, happy for the chance to rest, you wondered how you ever ended up there.”

Funny, big-hearted, and deft, Here Beneath Low-Flying Planes navigates the reader through the life that happens when you’re planning other things. It is a collection of experiences, roads not taken, and the intense and unforeseen sparks of connection we hope for.

The award-winning stories in David Borofka's Hints of His Mortality focus on the male of the species, on bewildered, guilt-ridden, hypersensitive characters adrift in a sea of changing roles and expectations. Although they yearn for the ideal—whether physical or spiritual—and for that sense of divine connection suggested by Wordsworth's Intimations of Immortality, they usually end up settling for what seems the next best thing: sex or religion.

The amorous scrimmage between male and female in these taut, intense stories is a contest that leaves no one unmarked. The hapless ministers in Borofka's memorable collection find that their daily grind of professional piety leaves them with more questions than answers. The men and boys in Hints of His Mortality are always aware of their flaws, for Borofka's vital characters have the capacity to register the shadows of their every blemish. Like Ferguson of the title story, haunted for twenty years by his failures of conscience, each protagonist experiences the inexorable fallibility of his own nature, agonizes over his moral weakness, and longs for escape from this life in which “our birth is but a sleep and a forgetting." Yet each is redeemed by his ongoing struggle for compassion and understanding.

 If every story is born of a question—How did we get here? How do you make your arm do that?—the stories in Geoff Wyss’s How search for answers to the mysteries of an astonishing range of characters. The narrator of “How I Come to Be Here at the GasFast” explains why he hasn’t left a truck stop in the two days since he scratched a winning lottery ticket. In “How to Be a Winner,” a sports consultant browbeats a high school football team with his theory of history and a justification of his failed coaching career. Lost in the mazes they’ve made of themselves, Wyss’s characters search for exits on ground that shifts dizzyingly from humor to pathos, from cynicism to earnestness, from comedy to tragedy, often within the same sentence. Although propelled by a razor-sharp, contemporary voice, Wyss’s stories—many set in a New Orleans unknown to television and tourists—have more in common with Chekhov and O’Connor than with “Treme.”