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Based mostly on his own experiences, Theophile Maher’s local color novel Cannel Coal Oil Days challenges many popular ideas about antebellum Appalachia, bringing it more fully into the broader story of the United States. Written in 1887, discovered in 2018, and published here for the first time, it offers a narrative of life between 1859 and 1861 in what was then western Virginia as it became West Virginia.

Cannel coal (a soft form of coal whose oil, when distilled, was competitive in the lighting oil business after overfishing reduced the whale oil supply) was at the center of one of Appalachia’s first extractive industries. Using the development of coal oil manufacturing in the Kanawha valley as its launching point, Maher’s semiautobiographical novel tells of a series of interrelated changes, each reflecting larger transformations in the United States as a whole. It shows how coal oil manufacturing was transformed from an amateurish endeavor to a more professional industry, with implications for Appalachian environment and labor. Then, Maher foreshadows the coming Progressive Era by insisting on moral and environmental reforms based in democratic and Christian principles. Finally, he tells the story of the coming of the Civil War to the region, as the novel’s protagonist, a mining engineer, works closely with a Black family to organize the local abolitionist mountain folk into a Union militia to aid in the secession of West Virginia from Virginia.

Reorienting critical theory and literary criticism to consider how the present contains seeds of a future beyond capitalism

Critical theorists have long held to the axiom that it is easier to imagine the end of the world than the end of capitalism. Greg Forter starts this wide-ranging study of contemporary literature by suggesting that this position is increasingly hard to maintain. In the wake of the 2008 financial crisis, the global rise of the New Right, and the mass disruptions and despair wrought by COVID-19, the story that capital had built about itself has begun to reveal cracks in its foundations. Capitalism has not succeeded in fully flattening or homogenizing time. Developing in combined and uneven fashion, it has retained the residues of pasts that suggest other futures are possible. Forter assembles a corpus of novels that theorize this insight. He names these fictions speculative realism to highlight how they map the closures of our present while opening that present onto other, more speculative orders of time. In the face of ongoing, overlapping crises, Forter posits, these fictions locate flickering intimations of a utopian somewhen; they illuminate a present charged with precipitates of a transfigured but now imaginable future.

Ann Deagon first began writing poetry “vigorously” in 1970, “in some kind of forty-year-old renaissance.” Since then her poems have been published widely and have been received numerous awards. 

“When I came to forty
that three-headed dog love death and poetry
took me in its teeth and shook me…”

Carbon 14 is the result, a counterpoint of serious and ironic excavations into the mythic and the personal past of a middle-aged woman. Although these poems have grown from her lifelong involvement in the Classics and are basically classical in their structure and concentration, their strength is not academic. 

Ann Deagon's poems interweave past and present, person, place, and event, with unexpected and often violent insights. In “The Sybil's Bath,” for example, the sacrifice of a young girl to a god leads to unprecedented counterviolence and to questions which are both contemporary and absolute. 

According to Deagon, “All identity is in some sense a translation from the Greek: it cannot be defined except with hyphens. The meaning hovers precisely at the hyphen.” in Carbon 14 Deagon proclaims her identity as poet-woman, woman-teacher, teacher-poet.

A Poets & Writers First Fiction 2026 Debut Selection

In the late 1970s, Ziad Idilbi, a Palestinian refugee from Lebanon, marries Salma, a Lebanese refugee escaping the war in Beirut. Resolving to start over for the very last time, the couple opens a corner store in Toledo, Ohio, across from the General Motors factory, where Toledo’s Arab community intermingles with the working class. Over the decades, whether it’s bigotry (pre- and post-9/11), financial ruin, or terminal illness, the Idilbis find themselves on life’s outskirts, attempting to build something new.

Achingly poignant and slyly funny, the linked stories in Carryout follow the Idilbis and their children as they teeter on the brink of catastrophe. Walid, the youngest child of Ziad and Salma, navigates the heartbreaks of youth as well as the colorful characters who haunt his parents’ corner store. As he grows up into a writer, Walid’s gaze fixes on his father and the long shadow of displacement and occupation. Mustafa, the eldest son, is forever trying to outrun the disasters that seem to seek him out, while Nawal, the only daughter, is dumped by a friend and hatches a scheme to win her back. Unsure whether to run toward each other or away from each other, the characters in Dudar’s exquisite debut suffer the absurdities and indignities of life in America with wry obstinance and striking wisdom.

Nellie Campobello, a prominent Mexican writer and "novelist of the Revolution," played an important role in Mexico's cultural renaissance in the 1920s and early 1930s, along with such writers as Rafael Muñoz and Gregorio López y Fuentes and artists Diego Rivera, Orozco, and others. Her two novellas, Cartucho (first published in 1931) and My Mother's Hands (first published as Las manos de Mamá in 1938), are autobiographical evocations of a childhood spent amidst the violence and turmoil of the Revolution in Mexico. Campobello's memories of the Revolution in the north of Mexico, where Pancho Villa was a popular hero and a personal friend of her family, show not only the stark realism of Cartucho but also the tender lyricism of My Mother's Hands. They are noteworthy, too, as a first-person account of the female experience in the early years of the Mexican Revolution and unique in their presentation of events from a child's perspective.

Anthony Powell’s universally acclaimed epic A Dance to the Music of Time offers a matchless panorama of twentieth-century London. Now, for the first time in decades, readers in the United States can read the books of Dance as they were originally published—as twelve individual novels—but with a twenty-first-century twist: they’re available only as e-books.

Casanova’s Chinese Restaurant (1960), the fifth book, finds Nick marrying Isobel Tolland and launching happily into family life—including his new role as brother-in-law to Isobel’s many idiosyncratic siblings. But even as Nick’s life is settling down, those of his friends are full of drama and heartache: his best friend, Hugh Moreland, is risking his marriage on a hopeless affair, while Charles Stringham has nearly destroyed himself with drink. Full of Powell’s typically sharp observations about life and love, Casanova’s Chinese Restaurant offers all the rewards and frustrations, pleasures and regrets of one’s thirties.

"Anthony Powell is the best living English novelist by far. His admirers are addicts, let us face it, held in thrall by a magician."—Chicago Tribune

"A book which creates a world and explores it in depth, which ponders changing relationships and values, which creates brilliantly living and diverse characters and then watches them grow and change in their milieu. . . . Powell's world is as large and as complex as Proust's."—Elizabeth Janeway, New York Times

"One of the most important works of fiction since the Second World War. . . . The novel looked, as it began, something like a comedy of manners; then, for a while, like a tragedy of manners; now like a vastly entertaining, deeply melancholy, yet somehow courageous statement about human experience."—Naomi Bliven, New Yorker 

“The most brilliant and penetrating novelist we have.”—Kingsley Amis

Castle Nowhere is Constance Woolson's collection of stories set for the most part in the Great Lakes, in particular northern Lake Michigan and Lake Huron near Detroit.

Several themes inhabit Woolson's writing: an environmental consciousness and concern with landscapes; an awareness of the complexities of race; and an abidingly careful eye for the shallowness that sometimes accompanies wealth or social pretensions. She also had a unique perspective as a woman who pioneered the use of controversial subjects---such as unrequited or misplaced passion---and methods in fiction during a time that valorized domesticity.

As Margot Livesey notes in her introduction, reading about thwarted love is only one of the pleasures to be found in Castle Nowhere. "The majority of these stories are set in remote areas on the shores of Lake Michigan, which Woolson evokes with great vividness and beauty while always remaining keenly aware that beauty in no way mitigates hardship. As a writer, she was nearly always looking over her shoulder, and many, if not all, of these stories were written at a time when she no longer visited the Lake and her beloved Mackinac Island."

Contemporary readers will find a curiously modern atmosphere in Woolson's stories, as well as a distinct regional flavor in her careful renderings of the Great Lakes landscape. As such, Castle Nowhere represents a rare woman's voice in literature of its period and setting.

Constance Fenimore Woolson (1840-1894) was born in New Hampshire and moved to Cleveland shortly thereafter. She spent time on Mackinac Island, Michigan, then traveled to Florida before moving to Europe. Much of her time there was spent in Italy. She died in Venice in 1894. Novelist Margot Livesey is the author of Eva Moves the Furniture and Homework.

In this striking debut collection, Michael Carlson offers poems that combine the concrete and the musical, while embodying a tendency toward contradiction. He writes by working with rhythms, structures, images, associational leaps, and an obsession with the sound of words, as opposed to narrative. The book begins, “A thing wants to pounce but can't,” and this spirit of hesitation continues throughout the volume. 

The first section of the book contains heavily rhythmic poems measured sometimes by syllable, sometimes by stress, dealing with rural landscapes, a struggle with disillusionment, and a reconciliation of knowledge and belief. The second section confronts the terrain and people of Carlson's childhood in Rhode Island, using longer sentences, riskier enjambments, and a more colloquial and emotional language. 

The poems in the third section—which range from Manhattan to Florida, Vietnam, and Paris—share a tendency to be more fantastic and are formal in weird ways. They include an homage to Ezra Pound borrowing the vocabulary of his first book and the syntax of his last, a nod to John Donne borrowing some of his stanza shapes, a sonnet whose constraint is that each of its fourteen lines contains a piece of armor, and a sestina composed of four syllable lines with four end words that rhyme. In the fourth section, Carlson returns to Brooklyn, speaks from the present, and resolves his stances in a brief notational way that is reminiscent of Chinese poetry.

Originally published in 1981 as En breve cárcel,Certificate of Absence is the first novel of the Argentinian scholar-critic Sylvia Molloy. Innovative in its treatment of women's relationships and in its assertion of woman's right to author her own text, the novel has won wide approval in Latin America and the United States.

The novel centers around a woman writing in a small room. As she writes, remembering a past relationship and anticipating a future one, the room becomes a repository for nostalgia, violence, and desire, a space in which writing and remembering become life-sustaining ceremonies. The narrator reflects on the power of love to both shelter and destroy. She meditates on the act of writing, specifically on writing as a woman, in a voice that goes against the grain of established, canonical voices.

Latin American male writers are prone to self-portrayal in their texts. Certifcate of Absence is one of the few novels by Latin American women that successfully use this technique to open new windows on women's experiences.

In Change, Mo Yan, the 2012 Nobel Laureate in Literature, personalizes the political and social changes in his country over the past few decades in this novella disguised as autobiography—or vice-versa. Unlike most historical narratives from China, which are pegged to political events, Change is a representative of “people’s history,” a bottom-up rather than top-down view of a country in flux. By moving back and forth in time and focusing on small events and everyday people, Mo Yan breathes life into history by describing the effects of larger-than-life events on the average citizen.