Results by title

The linked stories in Mama Said are set in Louisville, Kentucky, a city with a rich history steeped in tobacco, bourbon, and gambling, indulgences that can quickly become gripping and destructive vices. Set amid the tail end of the crack epidemic and the rise of the opioid crisis, Mama Said evokes Black family life in all its complexity, following JayLynn, along with her cousins Zaria and Angel, as they come of age struggling against their mothers’ drug addictions.

JayLynn heads to college intent on gaining distance from her depressed mother, only to learn that her mother’s illness has reached a terrifying peak. She fears the chaos and instability of her extended family will prove too much for her boyfriend, whose idyllic family feels worlds, not miles, apart from her own. When bats invade Zaria’s new home, she is forced to determine how much she is willing to sacrifice to be a good mother. Angel rebels on Derby night, risking her safety to connect with her absent mother and the wild ways that consumed her.

Mama Said separates from stereotypes of Black families, presenting instead the joy, humor, and love that coexist with the trauma of drug abuse within communities. Kristen Gentry’s stories showcase the wide-reaching repercussions of addiction and the ties that forever bind daughters to their mothers, flaws and all.

This debut collection turns the ordinary into sweeping tragicomedy, probing the small, daily confrontations that shape a life well lived.

In a debut collection at once deeply felt and delightfully playful, Ernie Wang presents ordinary people struggling with challenges that confront many today: how to find steady, meaningful work; how to manage when our healthcare system fails us; how to navigate thorny relationships with lovers, with friends, with children; how to keep one’s dreams alive, and how to let them go. The thirteen stories in Manual for How to Live Magnificently are intriguingly linked, with narrators becoming players and players becoming narrators. Several stories feature cameos by the irrepressible seventy-something Mabel Rogerson, who serves by turns as catalyst, comic relief, and means to catharsis. The book toggles among dramatically different locales—Dayton, Ohio; Las Vegas; Disneyland; Kamisoshigaya, Japan—drawing them thematically into a shared orbit. 

Though each of Wang’s offerings has heft and poignancy, the stories also serve up superb comic set pieces. A fake fortuneteller forgoes his crystal ball in favor of a snow globe; a priest moonlights as a professional wrestler named the Grim Preacher; a troubled lawyer who reluctantly cat-sits for a friend winds up finding solace with Killer and Hoedaddy. Revelations are reached at the male strip club Dayton Dix, or during a ritual spanking at Hofbräuhaus just off the Las Vegas Strip, or on Captain Hook’s flying galleon during a theme park ride. And almost everyone eventually ends up at Applebee’s. When storylines converge in a terrifying tragedy, Wang takes the opportunity to explore the complexity of family, to deepen our understanding of sacrifice and the many ways people demonstrate love for one another.

WINNER OF THE CATHERINE DOCTOROW INNOVATIVE FICTION PRIZE

A technocratic collapse erases an obscure poet from existence, she and her pet moss ball refuse to disappear

Marimo, Mon Amour is a surreal, contemplative novel set in the quarantined borough of Alphabet City, where a botched data migration leaves obscure poet Zinger Zingiber effectively erased from the record. Furloughed from her jobs as a dumpling-maker and asylum specialist, she withdraws to her apartment with only her pet moss ball, Marimo, for company. As the Bureau of Misidentification bans forbidden words and controls identity, Zinger appoints herself the “Minister of Loneliness,” observing a world suspended in time.

From this quiet refuge, Zinger meditates on solitude, the fragility of memory, and the small, ephemeral moments that become acts of meaning. Her narration drifts between dream and reality, blending whimsy with philosophical inquiry. Lyrical and recursive, the novel draws on the psychological depth of Dostoevsky and the surreal sensibilities of Italo Calvino and Yoko Ogawa as it explores agency a plague of absentia. Marimo, Mon Amour will appeal to readers of literary and speculative fiction, fans of surreal or philosophical narratives, and anyone drawn to meditations on isolation, resistance, and the endurance of the human spirit.

WINNER OF FC2's RONALD SUKENICK INNOVATIVE FICTION PRIZE

A stunning look at the labor of obsession and the industry of self-destruction

In her lush, lyrical, and unflinching short fiction debut, JoAnna Novak examines the restless throb of desire amid the rote work of jobs and obligations, from the walk-ins of a New York banquet kitchen to the pier of Venice Beach. Fueled by jellyfish pad Thai and Necco wafers, Mountain Dew and Xiaolongbao, the characters in these stories defy boundaries and mores: In “MEMO 19,” a former anorectic, bored of recovery and her clerical job, invites an unparalleled act of sexual defilement and in “Rio Grande, Wisconsin,” a fleshly preteen fantasizes about Bill Murray on a family vacation to Wisconsin. Celebrating the grueling beauty of the shift and the ticking virtues of self-restraint, Meaningful Work is a pageant of formal experimentation, in fearless, glittering prose.
 

Sally Benson’s charming slice-of-life story is back in print for a new generation of readers.

Originally published as World War II raged overseas, Meet Me in St. Louis is Sally Benson’s semi-autobiographical account of the intergenerational Smith family during the twelve months leading up to the 1904 World’s Fair in St. Louis, Missouri. With warmth and tenderness, Benson chronicles the Smiths’ lives as they navigate sibling rivalries, first loves, financial hardship, jealousy, and heartaches in a poignant ode to the bonds of family.

Benson's novel is infused with wit as she details the lighthearted, pleasant existence of the Smith family’s five children—one rife with chaste crushes, victimless pranks, and other childhood escapades. Yet, the novel’s episodic, squeaky-clean veneer belies a dark comedic brilliance that transcends the ages and speaks, even today, to the universal experience of growing up.

Long out of print, this new edition of Benson’s timeless work includes a foreword by bestselling author Benjamin Dreyer, who comments both on the book's origins and its afterlife in popular culture as the source material for Judy Garland’s beloved musical of the same name. An effervescent midcentury novel waiting to be rediscovered, Meet Me in St. Louis is ready to meet its new generation of readers.

2021 BIG OTHER BOOK AWARD FICTION FINALIST

A fiercely ecstatic tale of betrayal and self-sacrifice

Messiahs centers on two nameless lovers, a woman of east Asian descent and a former state prisoner, a black man who volunteered incarceration on behalf of his falsely convicted nephew, yet was “exonerated” after more than two years on death row. In this dystopian America, one can assume a relative’s capital sentence as an act of holy reform—“the proxy initiative,” patterned after the Passion.

The lovers begin their affair by exchanging letters, and after his release, they withdraw to a remote cabin during a torrential winter, haunted by their respective past tragedies. Savagely ostracized by her family for years, the woman is asked by her mother to take the proxy initiative for her brother—creating a conflict she cannot bear to share with her lover. Comprised of ten poetic paragraphs, Messiahs’ rigorous style and sustained intensity equals agony and ecstasy.
 

A postapocalyptic noir that asks if love and political ideals can survive civilizational collapse

A meditative, postapocalyptic noir, Mevlido’s Dreams is an urgent communiqué from a far-future reality of irreversible environmental damage and civilizational collapse. Mevlido is a double agent working for the police and living in the last habitable city on the planet, a sprawling abyssal ruin marked by war and ruled by criminals. Suspended in the bardo between his loyalty to the surveillance state and to the anarchists, communists, and other rebels he monitors, Mevlido clings to life and hope—barely—in the city’s vast slums, haunted by the memory of the wife he failed to save during the last war and dreaming of a mysterious mission he is told he must accomplish. At the same time, an enigmatic organization existing elsewhere—the Organs—observes Mevlido’s actions and debates its responsibility to him and to humanity as a whole. 

Asking what it means to love and care for others at the end of the world, this dense, brilliantly detailed postcollapse reality imagined by Antoine Volodine is one that grows ever more relevant amidst intensifying climate and political catastrophes. A key work in Volodine’s post-exotic fictional universe, Mevlido’s Dreams envisions a world changed beyond recognition and ruled under irrational authoritarianism in which dreams nest within dreams and the boundaries between life and death are fluid and uncertain.

When the author becomes the story, the possibilities are endless.

Michael Martone, by Michael Martone, continues the author's giddy exploration of the parts of books nobody ever reads. Michael Martone is its own appendix, comprising fifty “contributors notes,” each of which identifies in exorbitant biographical detail the author of the other forty-nine. Full of fanciful anecdotes and preposterous reminiscences, Martone’s self-inventions include the multiple deaths of himself and all his family members, his Kafkaesque rebirth as a giant insect, and his stints as circus performer, assembly-line worker, photographer, and movie extra.

Expect no autobiographical consistency here. A note revealing Martone's mother as the ghost-writer of all his books precedes the note beginning, “Michael Martone, an orphan . . . “ We learn of Martone’s university career and sketchy formal education, his misguided caretaking of his teacher John Barth’s lawn, and his impersonation of a poor African republic in political science class, where Martone's population is allowed to starve as his more fortunate fellow republics fight over development and natural resource trading-cards.

The author of Michael Martone, whose other names include Missy, Dolly, Peanut, Bug, Gigi-tone, Tony's boy, Patty's boy, Junior's, Mickey, Monk, Mr. Martone, and “the contributor named in this note," proves as Protean as fiction itself, continuously transforming the past with every new attribution but never identifying himself by name. It is this missing personage who, from first note to last, constitutes the unformed subject of Michael Martone.
 

A remarkable young woman flees India to chase the dream of self-reinvention in America

The orphaned girls of St. Ursula’s convent are destined to be nuns or servants, but seventeen-year-old Savi dreams of escape. She is chosen to work as a governess for the wealthy Nandiyar family at their country estate in Tamil Nadu, where she falls for a lively and carefree apprentice sculptor. After the violent and horrific events of a single night, they are forced to flee, leaving their homeland forever in the rearview.

Decades later, Savi has become known to all as “Missy” and runs a successful driving school in Chicago. She is a pillar of the South Asian community and the mother of two brilliant, stubborn young women, Mansi and Shilpa. But when Varun, a charming doctor with mysterious connections to her past, enters their lives, a chain of events is set off that puts Missy’s carefully constructed world in jeopardy. Can Missy outrun her secrets? And, if she is forced to face them, what will become of those she loves?
 

A Debutiful “Most Anticipated Debut Book of 2026”

In upstate New York in 2001, nine-year-old twins Sabina and Camilla spend the summer weathering the moods of their erratic mother while finding themselves pulled toward diverging interests: Sabina into the mystery of their absent French father and Camilla into burgeoning popularity. But their lives are shaken up by the arrival of an Arab French family across the street. Thrilled by what she sees as a link to the country of her origins, Sabina attempts to befriend the family’s son, Khalil, and is rebuffed for reasons she doesn’t understand.

Yet as the twins and Khalil come of age, they are drawn into a tense and ever-shifting triangular dynamic. As Sabina strives to find her father and make sense of her mother, as Camilla confronts whether the power she held in youth translates to adulthood, and as Khalil reckons with the psychological fallout of a family tragedy, their paths converge in ways both surprising and inevitable. Bookended by events with global resonance, Mistranslation is a continent-spanning chronicle of family, inheritance, and the reverberations of the choices we do—or don’t—make.

Available for the first time in English, Hungarian writer Edina Szvoren's short story collection gives voice to lives shaped by repression, cruelty, and silence.

Moments from the Life of a Hedgehog and Other Stories introduces English-language readers to the unsettling, exacting fiction of Hungarian author Edina Szvoren. Disturbing yet deliberately modest, these stories evoke a claustrophobic world of compromise and quiet desperation: fractured families warped by history and habit, boarding schools and workplaces ruled by cruelty, and domestic interiors heavy with unspoken dread. Set in the final decades of Hungarian socialism and its immediate aftermath, Szvoren’s sharply observed miniatures are animated by ever-shifting perspectives—outsiders, misfits, refusers—struggling to make sense of lives largely beyond their control. Grotesque without excess, absurd without relief, Szvoren’s narrative voices overlap and collide in ways that recall Franz Kafka and István Örkény. Yet her work remains firmly grounded in the body: queasy, intimate, and insistently physical, with a feminist and existential charge. Among polyester ornaments and unbearable family encounters, these stories offer a powerful, understated testimony to the unheard—and the nearly unhearable.

WINNER OF FC2’s AMERICAN BOOK REVIEW/RONALD SUKENICK INNOVATE FICTION PRIZE 

Step inside a gallery where the strange feels familiar.

A monogrammed cube appears in your town. Your landlord cheats you out of first place in the annual Christmas decorating contest. You need to learn how to love and care for your mate—a paring knife. These situations and more reveal the wondrous play and surreal humor that make up the stories in Amelia Gray’s stunning collection of stories: Museum of the Weird.

Acerbic wit and luminous prose mark these shorts, while sickness and death lurk amidst the humor. Characters find their footing in these bizarre scenarios and manage to fall into redemption and rebirth. Museum of the Weird invites you into its hallways, then beguiles, bewitches, and reveals a writer who has discovered a manner of storytelling all her own.

A compelling story of a unit of Buffalo Soldiers and their white commander fighting on the Italian front during World War II.

The 92nd Division of the Fifth Army was the only African American infantry division to see combat in Europe during 1944 and 1945, suffering more than 3,200 casualties. Members of this unit, known as Buffalo Soldiers, endured racial violence on the home front and experienced racism abroad. Engaged in combat for nine months, they were under the command of southern white infantry officers like their captain, Eugene E. Johnston. 

Carolyn Ross Johnston draws on her father’s account of the war and her extensive interviews with other veterans of the 92nd Division to describe the experiences of a naïve southern white officer and his segregated unit on an intimate level. During the war, the protocol that required the assignment of southern white officers to command black units, both in Europe and in the Pacific theater, was often problematic, but Johnston seemed more successful than most, earning the trust and respect of his men at the same time that he learned to trust and respect them. Gene Johnston and the African American soldiers were transformed by the war and upon their return helped transform the nation.

WINNER OF FC2’s RONALD SUKENICK INNOVATIVE FICTION PRIZE

Meditations on the ways grief is felt and harvested—the funny, the sorrowful, the surreal, and the unmentionable

The stories in My Haunted Home delve in startling ways into the lives of the obsessed, the grieving, and the truly haunted. Victoria Hood conjures a shifting range of narrators through an unstable range of worlds where mothers might be dead, girls compulsively shove peanuts inside their ears, agoraphobia traps people inside their houses, and cats won’t eat your soup. In “The Teeth, the Way I Smile,” a daughter who looks like her dead mother manifests grief both in her house and her body. In “Smelly Smelly,” a woman slowly comes to realize her boyfriend has been dead for weeks. In “You, Your Fault,” we explore the unfolding love of two women who love every part of each other—including the parts that fixate on arson and murder.

Each story is a bite-size piece of haunting candy on a necklace of obsession holding them together. Hood probes the worlds of what can be haunted, unpacking the ways in which hauntings can be manifested in physical forms, mentally harvested and lived through, and even a change in what is haunting.
 

A woman meets a man and falls in love. She is sixty, a writer and lifelong New Yorker raised by garmentos. She thought this kind of thing wouldn’t happen again. He is English, so who knows what he thinks. He is fifty-six, a professor now living in Arizona, the son of a bespoke tailor. As the first of Laurie Stone’s linked stories begins, the writer contemplates what life would be like in the desert with the professor. As we learn how she became the person she is, we also come to know the artists and politics of the downtown scene of the ’70s, ’80s, and ’90s, a cultural milieu that remains alive in her. In sharply etched prose, Stone presents a woman constantly seduced by strangers, language, the streets— even a wildlife trail. Her characters realize that they feel at home in dislocation—in always living in two places at the same time: east and west, past and present, the bed and the grave (or copper urn). Love may not last, the writer knows. Then again, when has anything you thought about the future turned out right?
 

Long unpublished and presumed lost, Myself, Four Times reveals Maria Lazar as a bold, psychologically acute feminist writer whose work deserves a central place in twentieth-century European literature.

Myself, Four Times is a rediscovered novel of friendship, desire, and self-invention by Maria Lazar (1895–1948), one of the most incisive and unjustly neglected voices of interwar Austrian literature. Written in Vienna in the late 1920s but never published in Lazar’s lifetime, the novel appears now for the first time, drawn from her literary estate.

The book follows four women—friends since their school days—whose lives unfold in strikingly different directions, yet remain inseparably bound from adolescence into adulthood. Set against the backdrop of the not-so-golden 1920s, it traces shared youth and first love alongside the darker currents of friendship: self-deception, betrayal, jealousy, and emotional manipulation. At the same time, Lazar charts women’s struggles for independence, identity, and fulfillment in a society poised between liberation and collapse.

With psychological acuity and social sharpness, Myself, Four Times captures both the exhilaration and the cost of female solidarity. Its long suppression mirrors Lazar’s own fate: a celebrated writer forced into exile by Nazism, silenced after she died in 1948, and only recently reclaimed as a major figure of twentieth-century European literature.