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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.

Poignant and revealing stories from one of the Midwest’s leading authors.

Poignant and revealing stories from one of the Midwest’s leading authors.

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?
 

An updated translation of Colette’s revolutionary 1922 autobiographical collection that contains six previously untranslated chapters.

This book is a much-needed new translation of Colette’s classic La Maison de Claudine. A careful re-reading of the text was long overdue, given Colette’s evolution into one of the most admired French novelists in the modern world, the inadequacy of earlier translations, which omitted six significant chapters, and changes in contemporary attitudes on motherhood and sexual orientation. The controversial topic at the center of the novel, her passion for her mother Sido, animates her writing as a whole. As the BBC notes, “The Most Beloved French writer of all time. . . . An icon in her native France, Colette's scandalous life and works still captivate readers 150 years on from her birth, writes John Self.”

It’s Switzerland in the 1920s when the two lovers first meet. She is young, beautiful, and rich. In contrast, he can barely support himself and is interested only in music. By the end of their lives, he is a famous conductor and the richest man in the country, but she is penniless. And most important of all, no one knows of her love for him; it is a secret he took to his grave. Here begins Urs Widmer’s novel My Mother’s Lover.

Based on a real-life affair, My Mother’s Lover is the story of a lifelong and unspoken love for a man—recorded by the woman’s son, who begins this novel on the day his mother’s lover dies.  Set against the backdrop of the Depression and World War II, it is a story of sacrifice and betrayal, passionate devotion, and inevitable suffering. Yet in Widmer’s hands, it is always entertaining and surprisingly comic—a unique kind of fairy tale.

The speaker of the simultaneously funny and devastating poems in this remarkable first collection comes from a country that, like the Soviet Union, no longer exists, a place he treats with a mixture of nostalgia, disdain, and bewilderment as he strives to achieve a sense of order in his current disordered environment, a post-apocalyptic landscape with striking similarities to our own. He takes the reader through haunting and disjunctive childhood memories, on visits to Azerbaijan and West Des Moines, through the ravages of physical and spiritual illness, into and out of wars and ill-fated romantic escapades, as he carefully pieces together a complex narrative of self. This is a book of location and dis-location, intent and inaction, struggle and failure, restraint and mania, love and anger, savagery and healing, grief and merriment, elegy and ode. Technically, the poems-often litanies-are marked by syntactical variation, recurring imagery, paradoxical statement, cultural idioms, shifts between high and low diction, a carnivalesque sense of humor, and an elliptical approach to exposition. The speaker also takes on the identities of various personae in the book, including Joseph Cornell, Vladimir Mayakovsky, Pol Pot, a vaudevillian, a movie extra, minor dictators, vagrants, ambigendered lovers, and a lighthouse keeper on an uninhabited island.

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.

Three novellas of murder and mystery in nineteenth-century Minneapolis

OWNER DIES UNDER STRANGE CIRCUMSTANCES AT MINNEAPOLIS MILL!

HOTEL BELLMAN FOUND DEAD IN OSCAR WILDE’S ROOM!

$10,000 REWARD FOR DISCOVERING MY MURDERER!

These headlines are just the beginning as Larry Millett returns to the scene of the crime in three tales of intrigue and murder in historic Minneapolis. The mind that brought us the intrepid Shadwell Rafferty now introduces three unlikely but talented new detectives—in-laws Sophia Westerly and Annie Nichols, and the incomparable Oscar Wilde—who are thrown into murder investigations amid flour milling, literary culture, and labor organizing in the burgeoning city.

Murder at the Falls takes us to the Perfection Flour Mill at St. Anthony Falls when one owner turns up dead under grotesque circumstances and suspicion lands on the other, plunging the city into a frenzy of dark speculation. In A Wilde Night at the Nicollet House, Oscar Wilde, in the midst of his 1882 North American tour and spouting witticisms as only he can, teams up with the long-time house detective at the Nicollet House Hotel to search for the murderer of the hotel bell captain found dead in his room. In The Death Committee, a champion lawyer of the working class, convinced his own murder is imminent, arranges for three citizens to investigate his death, with a $10,000 reward going to the one who finds the killer.

Shining light on the colorful characters and curious corners of Twin Cities history, Mysterious Tales of Old Minneapolis brings the nineteenth-century city to vibrant life (and dastardly death) in the spellbinding style that Larry Millett’s legion of loyal readers has come to love.

Tales of murder and revenge: the early exploits of detective Shadwell Rafferty

Shadwell Rafferty’s last case may have led to his murder, but naturally—and fortunately, for followers of the indefatigable St. Paul detective—there’s more to the story. Mysterious Tales of Old St. Paul gathers three novellas from Larry Millett, casting back to Rafferty’s beginnings to recount a trio of intriguing cases that honed his skills before he joined forces with Sherlock Holmes.

In “Death in the News,” St. Paul citizens wake one morning to find that the sign on downtown’s tallest building that reads PIONEER PRESS has been altered—at considerable effort—to LIARS. An elaborate prank, yes, but it foreshadows a far worse crime, and Rafferty is on the case. In “The Birdman of Summit Avenue,” cats are turning up dead in the yards of St. Paul’s prominent citizens, and suspicion swiftly falls on the wealthy avian enthusiast Ambrose Harriman, but the case turns darker still when a neighborhood boy is found murdered in Harriman’s yard. In “The Gold King,” an enigmatic stranger arrives in town, calling himself the Gold King and announcing his plans to unearth hidden treasure, which eventually leads to a shocking conclusion.

Steeped in the mystery and history of nineteenth-century St. Paul, these interlocking detective stories feature the characters—and the local character—that have made the Shadwell Rafferty series irresistible. Spellbinding as ever, these stories also afford the curious pleasure of watching Rafferty find his footing on his way to becoming the consummate detective whose exploits have delighted readers again and again.