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A fragmentary work that stands as a testament to Wolf's skill as a thinker, storyteller, and memorializer of humanity’s greatest struggles.

Christa Wolf tried for years to find a way to write about her childhood in Nazi Germany. In her 1976 book Patterns of Childhood, she explained why it was so difficult: “Gradually, over a period of months, the dilemma has emerged: to remain speechless or to live in the third person, these seem to be the options. One is impossible, the other sinister.” During 1971 and 1972 she made thirty-three attempts to start the novel, abandoning each manuscript only pages in. Eulogy for the Living, written over the course of four weeks, is the longest of those fragments. In its pages, Wolf recalls with crystalline precision the everyday details of her life as a middle-class grocer’s daughter, and the struggles within the family—struggles common to most families, but exacerbated by the rise of Nazism. And as Nazism fell, the Wolfs fled west, trying to stay ahead of the rampaging Red Army. 

Hussein’s Euphrates Dance is a masterfully imagined and brilliantly written story of the universal struggle to seek light in the shadow of dominant horror and tragedy

William Gilmore Simms’s (1806–1870) body of work, which provides a sweeping fictional portrait of the colonial and antebellum South in all its regional diversity, complete with its literary and intellectual issues, is probably more comprehensive than that of any other nineteenth-century southern author. By the mid–1840s his novels were so famous that Edgar Allan Poe wrote that Simms was “the best novelist which this country has, on the whole, produced.” Simms wrote eight novels that were set in his home state of South Carolina during the Revolutionary War, and Eutaw, the sixth, was published in 1856, the same year Simms had a disastrous lecture tour in the North, in which he voiced strong pro–South Carolina and pro-Southern views.

Eutaw was a sequel to his very successful 1855 novel, The Forayers, and thus completed the most comprehensive saga of the war in our literary history. It focuses on the battle of Eutaw Springs in 1781, which ended British domination of South Carolina. Prominent in this significant battle were Nathanael Greene, Light-Horse Harry Lee, and Francis Marion, about whom Simms would later write a biography. As with other volumes in the Arkansas Edition of Simms’s work, this volume includes a critical introduction by the editor and a Simms chronology, as well as appendices dealing with textual matters.

Eve's Longing: The Infinite Possibilities in All Things is a story of a modern fictional saint in the making. In the course of Eve's twin spiritual and physical journeys. Deborah McKay's moving yet unsentimental novel explores alarming real-life resolutions to universal complexities and offers instead of answers the seductive and dangerous experience of its captivating central character. Eve is a shockingly original character: at once a philosopher, an artist with a highly developed visual imagination, and a visionary mystic. Her longing, as the subtitle suggests, is for: the Infinite Possibilities in All Things." In the course of her journey, this longing, which is essentially spiritual and philosophical in origin, becomes for us immediately tangible, sensuous, and fully real. Eve's longing takes her from New York City to a monastery in Assisi, Italy, the home of St. Francis, then back again to New York. Along the way her longing grows into a desire so intense that it engenders a compassion verging on the saintly and a cruelty equally as extreme. Her desires, when unfulfilled, lead to sexual excesses, hallucinations, and transformative spiritual visions. In the course of Eve's journey we meet characters both alive and dead: her sister Claire, her parents, her lovers, St. Francis, and the Virgin Mary: and two of her most intimate companions, the Spiral and the Pearl String, both creations of her own mind. Eve's Longing creates almost a new literary genre in literature. It combines the intimacy of an entrusting autobiography with the intrigue of a novel and the cool detachment of a clinical study. The consequence of Eve's Fascination with "The Infinite Possibilities in All Things"—the temptation to which the original and our Eve succumb—is both an end and a beginning.

Like any legendary figure, the cowboy is part myth and part reality, memorialized by history and Hollywood, envied by those who spend days at desks and dream of trading swivel chairs for saddles. The writings in this anthology serve as testament to the cultural love, bordering on obsession, of the American cowboy. These works cover the gamut, from the romanticized movie cowboy to ranchers, freelancers, and contemporary wranglers who wear hoodies and work in massive feedlot pens.

The cowboy that emerges from this collection is multifaceted, as the book juxtaposes cowboys spraying longhorns at a car wash to cowboys advertising services on Craigslist and Pepsi-drinking cowboys riding Amtrak trains. There are portraits of the old cowboys, crotchety coffee-swigging men with too many stories about how things were better four decades ago. However, the figure remains one constructed of loyalties—loyalty to work, loyalty to family, loyalty to animals, loyalty to the land.

The image of the cowboy is vivid in our imagination, insperable from Western mythology, a means to connect ourselves with the wild and rugged individuals we dream we used to be. In this age of computers and cubicles we want to touch and preserve that history, but we must allow for shifting traditions. As the thirty-five authors in this collection will remind you, even cowboys carry cell phones.

Hailed as one of the most important Eastern European writers of the post-Communist era, Pavel Vilikovsky actually began his career in 1965. But the political content of his writing and its straightforward treatment of such taboo topics as bisexuality kept him from publishing the works collected here until after the Velvet Revolution.

The fourteen stories in Every Human Love redefine our sense of reality. Set seemingly in the quotidian, these tales veer into the unexpected, the uncomfortable, occasionally the eerie, thrusting characters in crisis into still greater quandaries, where the world of weddings and work, of frustrated hopes and mundane dissatisfactions, collides with a realm of legend, of fairy tale, of nightmare.

Interweaving history, myth, rumor, and news, this first novel explores what it means to grow up as a girl in a culture of girl-killers

In Everyday Psychokillers spectacular violence is the idiom of everyday life, a lurid extravaganza in which all those around the narrator seem vicarious participants. And at its center are the interchangeable young girls, thrilling to know themselves the object of so much desire and terror.

The narrative interweaves history, myth, rumor, and news with the experiences of a young girl living in the flatness of South Florida. Like Grace Paley's narrators, she is pensive and eager, hungry for experience but restrained. Into the sphere of her regard come a Ted Bundy reject, the God Osiris, a Caribbean slave turned pirate, a circus performer living in a box, broken horses, a Seminole chief in a swamp, and a murderous babysitter. What these preposterously commonplace figures all know is that murder is identity: "Of course what matters really is the psychokiller, what he's done, what he threatens to do. Of course to be the lucky one you have to be abducted in the first place. Without him, you wouldn't exist."

Everyday Psychokillers reaches to the edge of the psychoanalytical and jolts the reader back to daily life. The reader becomes the killer, the watcher, the person on the verge, hiding behind an everyday face.

The stories in Everyone Remain Calm reveal landscapes where the surreal and the familiar clash, to visceral effect. A woman yearns for—and dreads—the snowfall that arrives whenever her ex-boyfriend returns to the home she shares with their son. Another character reassures herself after breakups by seeking out the monster under her bed, the Incredible Hulk himself, for rebound sex that can be hot, heavy, and unnerving. Marching bands blare all the way from New Orleans to the Midwest. There are wild shootouts, rising tides, and perils embedded in the act of storytelling itself. “There are words that can kill you if you’re not careful,” Stielstra writes. And the stories we tell ourselves are the most fantastic tales of all. Everyone Remain Calm is eerie, hilarious, moving, and down-to-earth, even as its characters defy the rules—sometimes in the ways we wish we could.

An Ojibwa woman has been found dead on the outskirts of the Minnesota Red Earth Reservation. The coroner ruled the death a suicide, but after an ex-lover comes back into her life saying foul play was involved, Renee LaRoche wants to prove otherwise. As the events begin to unfold, Renee conducts a presumably normal welfare check on a young Ojibwa boy in foster care. After she learns the boy has suffered abuse, Renee finds herself amid an investigation into the foster care system and the deep trauma it has inflicted on the Ojibwa people. As Renee uncovers horrible truths, she must work through her own childhood issues to help shine a light on the dark web she has stumbled into.

By turns haunting, hilarious, and heartbreaking, Charles Haverty’s debut collection charts the journeys of men, women, and children cast out of familiar territory into emotional terra incognita where people and things are rarely what they seem. These twelve stories are populated with ex-nuns and Freedom Riders, Chaucer scholars and strippers, out-of-work comedy writers and presidents, navigating their way through bedrooms and emergency rooms, backyard burial parties and airplane crash sites, the Piazza San Marco and the post-apocalyptic suburbs of Boston.

A sixteen-year-old boy unearths grisly evidence of his genteel grandfather’s racist past. At his sister’s booze-soaked destination wedding, a recovering alcoholic English professor is finagled into ghostwriting their unreliable father’s nuptial toast. A small town lawyer’s Edenic existence is jeopardized when his wife’s younger brother is arrested for a rash of local burglaries. In the wake of her daughter’s brush with disaster in the Haiti earthquake, a mother finds herself drawn down a dark neighborhood sidewalk toward what might or might not be a dead body. And in the title story—the first of three linked stories—a pious altar boy confronts the twin mysteries of sex and death through the auspices of a classmate’s divorced mother.

There are secrets at the center of each of these daring and original stories—secrets that separate these characters from one another but grow in the mind and the heart, connecting them with all of us.

On the surface a murder mystery—a detective’s search for the killer of five people in Denver—Expectation is also, among other things, a meditation on the relationship between language and music.

In his newest novel, Jeffrey DeShell draws on the musical innovations of Arnold Schoenberg—by turns traditional, serial, and atonal—to inform his grammar and language. Moving progressively through specific Schoenberg compositions, DeShell complicates the surface of his text into lyrical derivatives, all the while drawing us into a murder mystery like no other as Detective Francisca Fruscella pursues both the killer and her own complicated personal history.

By turns rapturous, rigorous, and gripping, Expectation is a thriller of another kind—and a bold venture to the limits of the mystery genre and language itself.

In Experiments with Empire Justin Izzo examines how twentieth-century writers, artists, and anthropologists from France, West Africa, and the Caribbean experimented with ethnography and fiction in order to explore new ways of knowing the colonial and postcolonial world. Focusing on novels, films, and ethnographies that combine fictive elements and anthropological methods and modes of thought, Izzo shows how empire gives ethnographic fictions the raw materials for thinking beyond empire's political and epistemological boundaries. In works by French surrealist writer Michel Leiris and filmmaker Jean Rouch, Malian writer Amadou Hampâté Bâ, Martinican author Patrick Chamoiseau, and others, anthropology no longer functions on behalf of imperialism as a way to understand and administer colonized peoples; its relationship with imperialism gives writers and artists the opportunity for textual experimentation and political provocation. It also, Izzo contends, helps readers to better make sense of the complicated legacy of imperialism and to imagine new democratic futures.

The sixty-three fiction writers and poets within this anthology delve deep into the many senses of place that modern West Virginia, the core of Appalachia, inspires.
Throughout this collection, we see profound wonder, questioning, and conflicts involving family, sexual identity, class, discrimination, environmental beauty, and peril, and all the sorts of rebellion, error, contemplation, and contentment that an intrepid soul can devise. These stories and poems, all published within the last fifteen years, are grounded in what it means to live in and identify with a complex place.
With a mix of established writers like Jayne Anne Phillips, Norman Jordan, Ann Pancake, Maggie Anderson, and Denise Giardina and fresh voices like Matthew Neill Null, Ida Stewart, Rajia Hassib, and Scott McClanahan, this collection breaks open new visions of all-American landscapes of the heart. By turns rowdy and contemplative, hilarious and bleak, and lyrical and gritty, it is a collage of extraordinary literary visions.