Results by title

When Edward Tamlin disappears while writing his memoir, Jane Tamlin (his wife and the mother of his young children) begins to write a secret, corrective “counter-memoir” of her own. Calling the book Choke Box, she reveals intimate, often irreverent, details about her family and marriage, rejecting—and occasionally celebrating—her suspected role in her husband's disappearance.

Choke Box isn't Jane's first book. From her room in the Buffalo Psychiatric Institute, she slowly reveals a hidden history of the ghost authorship that has sabotaged her family and driven her to madness. Her latest work, finally written under her own name, is designed to reclaim her dark and troubled story. Yet even as Jane portrays her life as a wife, mother, and slighted artist with sardonic candor, her every word is underscored by one belief above all others: the complete truth is always a secret. But the stories we tell may help us survive—if they don't kill us first.

WINNER OF THE 1996 FC2 NATIONAL FICTION COMPETITION

New York. 1 BC. A mythic metropolis. Dangerous, seductive, and strange.

A Queens schoolchild rises to become a powerful superhero. A scavenger fashions love from the city’s castoffs. A weary detective keeps vigil as the city shifts. A serial prankster spells secrets across the skyline.

Through seven transformative tales, fate-struck characters undertake urgent journeys for belonging and survival in the city that tests, nurtures, and remakes them. Alex Shakar’s debut collection metamorphoses the familiar into the marvelous—sharp, luminous, and wondrously alive.

Can liberation be found in the unexpected corners of a Renaissance faire?

In a near-future United States, the government has just stripped away the protections of birthright citizenship, and eighteen-year-old Raven is facing deportation. Her best hope: finding her long-gone father, an off-the-grid Renaissance faire entrepreneur called Tom the Hunter. If Raven can convince Tom to affirm his paternity, she will be able to remain in the only country she has ever known.

But Tom is no easy man locate, let alone tell what to do. The charismatic leader of an underground resistance movement based at a Ren faire in Bristol, Wisconsin, he has spent his life agitating against the ever-increasing reach of corporate and government surveillance while avoiding its gaze. In a society overrun by drones, self-driving cars, and wearable devices that track mood and behavior, he sends messages by pigeon and trains hawks to attack invaders. The only thing from the “regular world” allowed to enter his self-contained realm has been Gwen, his new lover. Facing economic and emotional headwinds after losing her job, Gwen has fled her family and a home dangerously in need of remediation, and she dives headfirst into an affair with the passionate yet conniving Tom. But when Tom’s machinations threaten those around him, Gwen begins to question her choice to leave her children behind for a world that may not be as empowering as it seems.

As Raven and Gwen become enmeshed in the vibrant and insurgent community of Bristol’s Ren faire and Tom’s antics reach unsettling new heights, each must make a choice on where they stand—and with whom.

Through fragmented testimonies of Marines, the novel exposes the psychological and moral wreckage left in the wake of modern warfare.

This book was originally published in 1933. It is the first novel by William March, pen name for William Edward Campbell. Stemming directly from the author's experiences with the US Marines in France during World War I, the book consists of 113 sketches, or chapters, tracing the fictional Company K's war exploits and providing an emotional history of the men of the company that extends beyond the boundaries of the war itself.

William Edward Campbell served courageously in France as evidenced by his chestful of medals and certificates, including the Croix de Guerre, the Distinguished Service Cross, and the Navy Cross. However, without the medals and citations we would know of his bravery. For it is clear in the pages of Company K that this book was written by a man who had been to war, who had clearly seen his share of the worst of it, who had somehow survived, and who had committed himself afterward to the new bravery of sense-making embodied in the creation of major literary art. It is of that bravery that we still have the record of magnificent achievement, the brave terrible gift of Company K.

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.

A darkly comic descent into Arkansas’s surreal criminal underworld through the eyes of a hapless, debt‑ridden hypochondriac

Couch People is a feverish, darkly comic novel that captures the anxious intensity of a world obsessed with wellness and control even as life keeps spinning into chaos. Prince, a debt-ridden drug dealer on probation, clings to vitamins and homeopathic rituals while stumbling through a surreal Arkansas underworld filled with criminal volatility and sudden violence.

As Prince fights to stay out of prison, recover his stolen money, and hold onto a fragile hope for love, he moves through a landscape populated by unforgettable misfits and bizarre dangers, including a system where snitches are cremated, turned into diamonds, and set into convicts’ teeth. Will Burns blends his satirical bite with unexpected tenderness, creating a narrative that prizes raw interiority and absurd humor over neat redemption. Couch People becomes a propulsive fever dream about love, loss, and the impossible effort to impose order on a world that refuses to make sense, inviting readers to embrace the beautiful mess of being alive without a manual, a map, or mercy.

Uncovering a frontier family’s secrets before progress wipes them away.

In Creekside, dedicated archaeologist Meg Harrington guides her students in a race against time to protect the legacy of the past before bulldozers rip it to shreds.

The setting is a Kentucky pasture slated for development—the construction of the new Creekside subdivision. Once, that same beautiful stretch of land was home to three generations who experienced love, loss, and tragedy in their log cabin beside the creek. It was here during the late 18th century that Estelle Mullins struggled to build her home on the dangerous frontier.

In Meg’s 21st-century world of archaeology we read about excavation techniques, daily experiences at a dig, tight construction deadlines, the use of heavy equipment, report writing, artifact analysis, damage from looters and collectors, and the reality of site destruction in the path of modern development. The depiction of Estelle’s frontier life includes Kentucky’s early Euro-American settlement of the Cumberland Gap, encounters with Shawnee defending their land, Protestant fragmentation, the rise of religious fundamentalism, the immigrant stampede down the Ohio River, and the persistent issue of class-based land ownership.

The two partially interwoven story lines link artifact and place, ancestors and descendants, the present and the past, and inspire us to explore the personal connections between them all in fresh and vital ways.

Crossing the River presents a wide range of Nguyen Huy Thiep's short fiction, both realistic stories in contemporary settings and retellings of folk myths that serve as contemporary parables. When Thiep's stories first appeared in the 1980s, they set off a chain of debate, not only within intellectual and political circles, but also within the society at large. Typically, the struggles of his characters were about survival, not survival in the context of war or revolution, but survival in the context of the emotional and psychological strength it takes to live within the harsh confines of post-war Vietnamese society. Thiep captured the emotional quality of Vietnamese life in a way no other author had done, and his importance can be recognized today by his enormous influence on younger writers.