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“If my mother were to tell the story . . .” So begins the title piece in this debut collection of short fiction, eight stories that explore the gap between the stories we tell ourselves and the stories we have lived. In “Punitive Damages,” a father, the beneficiary of a huge financial settlement in compensation for his son’s death, must confront the truth of the life that the son’s death has provided. In “Punnett’s Squares,” winner of the Chicago Tribune’s Nelson Algren Award, an adopted son seeks to prove, against all evidence to the contrary, that his adoptive father is in fact his biological father. In “Induction Ceremony,” a small-town basketball hero returns to his hometown no longer a man but now a woman, and his onetime teammate-and-friend must reconsider who they were and who they are now. In the pair of pieces that bookend the collection, “Ordination” and “Be a Missionary,” a Baptist preacher’s son must reconcile the distance between the evidence of things seen and the evidence of things unseen.

These are men and boys who like to see themselves as worthy of the titles of father, son, husband, lover, and friend, but who must fight their own instincts and desires to claim such honors. These are boys and men for whom questions of identity—biological, cultural, sexual, religious, moral—are unavoidable, men and boys always seeking to be who they want to be, always aware of who they are.

Chicano/a fiction is often understood as a literature of resistance to the dominant U.S. Anglo culture and society. But reducing this rich literary production to a single, binary opposition distorts it in fundamental ways. It conflates literature with life, potentially substituting a literature of protest for social activism that could provoke real changes in society. And it overlooks the complex range of responses to Anglo society that actually animates Chicano/a fiction.

In this paradigm-shifting book, Patrick L. Hamilton analyzes works by Rudolfo Anaya, Ana Castillo, Denise Chávez, Rolando Hinojosa, Arturo Islas, John Rechy, Alfredo Véa, and Helena María Viramontes to expand our understandings of the cultural interactions within the United States that are communicated by Chicano/a fiction. He argues that the narrative ethics of "resistance" within the Chicano/a canon is actually complemented by ethics of "persistence" and "transformation" that imagine cultural differences within the United States as participatory and irreducible to simple oppositions. To demonstrate these alternative ethics, Hamilton adapts the methodology of cognitive mapping; that is, he treats the chosen fictional texts as mental maps that are constructed around and communicative of the narrative's ethics. As he reads these cognitive maps, which envision Chicano/a culture as being part of U.S. society rather than as "resistant" and separate, Hamilton asserts that the authors' conception of cultural difference speaks more usefully to current sociopolitical debates, such as those about gay marriage and immigration reform, than does the traditional "resistant" paradigm.

The second volume in the Nobel Prize–winning writer’s epic of medieval Norway, finely capturing Undset’s fluid, natural style in a new English translation, the first in nearly a century

As Norway moves into the fourteenth century, the kingdom continues to be racked by political turmoil and bloody family vendettas that serve as the backdrop for Sigrid Undset’s masterful story about Olav Audunssøn and Ingunn Steinfinnsdatter. Betrothed as children and raised as foster siblings, their unbridled love for each other sets in motion a series of dire events—with a legacy of betrayal, murder, and disgrace that will echo for generations. In Providence, the second of Olav Audunssøn’s four volumes, Olav settles in at his ancestral estate of Hestviken and soon brings Ingunn home as his wife. Both hope to put their troubles behind them as they start a new life together, but the crimes and shameful secrets of the past have a long reach and a tenacious hold. The consequences of sin, suspicion, and familial obligations may prove a greater threat to the pair’s happiness than even their long years of separation.

Set in a time when royalty and religion vie for power, and bloodlines and loyalties are effectively law, Providence summons a powerful picture of Northern life in the medieval era, as the Swedish Academy noted in awarding Undset the Nobel Prize. Conveying both the intimate drama of Olav and Ingunn’s marriage and the epic sweep of their story, it is at once a moving and vivid recreation of a vanished world tainted by bloodshed and haunted by sin and retribution. 

As with her classic Kristin Lavransdatter, Sigrid Undset immersed herself in legal, religious, and historical writings to create in Olav Audunssøn an astoundingly authentic and compelling portrait of Norwegian life in the Middle Ages. And as in her translation of Kristin Lavransdatter, Tiina Nunnally does full justice to Undset’s fluid prose. Undset’s writing style is by turns straightforward and delicately lyrical, conveying the natural world, the complex culture, and the fraught emotional territory against which Olav’s story inexorably unfolds.

The third volume in the Nobel Prize–winning writer’s epic story of medieval Norway, finely capturing Undset’s fluid, natural style in the first English translation in nearly a century
 

In the early fourteenth century, Norway is a kingdom in political turmoil, struggling with opposing forces within its own borders and drawn into strife with neighboring Sweden and Denmark. Bloody family vendettas and conflicting loyalties sparked by the irrepressible passion of a boy and his foster sister (also his betrothed) have now set in motion a series of terrible consequences—with a legacy of betrayal, murder, and disgrace that will echo down through the generations. Crossroads, the third of Olav Audunssøn’s four volumes, finds Olav heartbroken by loss and further estranged from his son. To escape his grief, Olav leaves his home estate of Hestviken and agrees to serve as captain on a small merchant ship headed to London. There, separated from everything familiar to him, Olav begins a visionary journey that will send him far into the forest and deep into his soul. Questioning past decisions and future plans, Olav must grapple with his own perceptions of love and guilt, sin and penitence, vengeance and forgiveness. 

Set in a time and place where royalty and religion vie for power, and bloodlines and loyalties are law, Crossroads summons a powerful picture of Northern life in medieval times, as the Swedish Academy noted in awarding Sigrid Undset the Nobel Prize in 1928. Conveying both the intimate drama and epic sweep of Olav’s story as grief and guilt drive him to ever more desperate action, Crossroads is a moving and masterly re-creation of a vanished world tainted by bloodshed and haunted by sin and retribution. 

As with Kristin Lavransdatter, her earlier medieval epic, Undset immersed herself in the legal, religious, and historical documents of the time while writing Olav Audunssøn to create astoundingly authentic and compelling portraits of Norwegian life in the Middle Ages. And as in her translation of Kristin Lavransdatter, Tiina Nunnally does full justice to Undset’s natural, fluid prose, in a style that delicately and lyrically conveys the natural world, the complex culture, and the fraught emotional territory against which Olav’s story inexorably unfolds.

The fourth and final volume in the Nobel Prize–winning writer’s epic of one man’s fateful life in medieval Norway

Set in thirteenth-century Norway, a land racked by political turmoil, bloody family vendettas, and rising tensions between secular powers and an ascendant church, Sigrid Undset’s spellbinding masterpiece now follows the fortunes of Olav Audunssøn to the final, dramatic chapter of his life as it unfolds in Winter, the last volume of the tetralogy. When the orphaned Olav and his foster sister Ingunn became betrothed in their youth, a chain of events was set in motion that eventually led to violence, banishment, and a family separation lasting years. The consequences fracture their marriage and threaten the lineage for generations. Now, at the end of his life, Olav continues to grapple with the guilt of his sins as he watches his children, especially Eirik, make disastrous choices and struggle to find their rightful place in a family haunted by the past.

With its precise details and sweeping vision, Olav Audunssøn summons a powerful picture of Northern life in medieval times, as noted by the Swedish Academy in awarding Undset the Nobel Prize in 1928. Conveying both the intimate drama and the epic proportions of Olav’s story at its conclusion, Winter is a moving and masterly recreation of a vanished world tainted by bloodshed and haunted by sin and retribution—yet one that might still offer a chance for redemption. 

As with Kristin Lavransdatter, her earlier medieval epic, Sigrid Undset wrote Olav Audunssøn after immersive research in the legal, religious, and historical writings of the time to create an astoundingly authentic and compelling portrait of Norwegian life in the Middle Ages. And as in her translation of Kristin Lavransdatter, Tiina Nunnally does full justice to Undset’s natural, fluid prose—in a style by turns plainspoken and delicately lyrical—to convey the natural world, the complex culture, and the fraught emotional territory against which Olav’s story inexorably unfolds.

On Shaky Ground is a modernist novel written in the late 1930s and early 1940s and was originally published in Nazi occupied Kharkiv in 1942. One of the best examples of intellectual fiction of the time, the work summarizes the struggles of the Ukrainian intelligentsia in the late 1920s and early 1930s, when totalitarian reality, together with rampant industrialization, started to affect everyday life.

V. Domontovych is the pen name of Viktor Petrov, a historian and archaeologist, a representative of neoclassicism in Ukrainian literature. The novel follows the trajectory of art historian, Rostyslav Mykhailovych, who goes on a work trip from the capital city of Kharkiv to provincial Katerynoslav (today Dnipro), the place where he spent his childhood. In the late 1920s, a section of the Dnipro River became the place of a major industrial project, the construction of the largest hydroelectric station in Ukraine (Dniprelstan), which flooded the rapids over the river and led to serious ecological and social changes in the region. While the main goal of the trip is to save an old church from being turned into a museum, the journey becomes a philosophical reflection on dislocation and loss of connection with one’s birthplace, traditions, religion and more globally, a sense of security.

The stories are grouped by theme—heritage, holidays, and contemporary culture; family life; friends and other relationships; and dealing with differences. Individual stories explore additional themes such as the challenge of making do with little money, the process of moving to a new country and learning English, and young people's relationships to animals and to the natural world. Each story contains an introduction that offers historical, cultural, and biographical information. A general introduction and list of works by the thirteen contributors offer further avenues for research and discussion.

Inspiring writers through creativity, experimentation, and unexpected discovery.

Once Upon a Time in the Twenty-First Century: Unexpected Exercises in Creative Writing is a unique creative writing text that will appeal to a wide range of readers and writers—from grade nine through college and beyond. Successful creative writers from numerous genres constructed these exercises, including poetry, fiction, and creative nonfiction to one-act plays, song lyrics, genre fiction, travel guides, comics and beyond. The exercises use a broad range of creative approaches, aesthetics, and voices, all with an emphasis on demystifying the writing process and having fun.

Editor Robin Behn has divided the book into three writing sections: Genres and Forms, Sources and Methods, and Style and Subject. In each section, Behn offers a brief introduction which explains how to get started and specific ways to develop one’s writing. Each introduction is followed by extensive exercises that draw on literature from classic to contemporary, as well as other art forms and popular culture. Examples range from Flannery O’Connor and Langston Hughes to Allen Ginsberg and Gertrude Stein, from Jamaica Kincaid and James Joyce to Arlo Guthrie and Harryette Mullen. Integrated within the exercises are apt examples of student writings that have emerged from actual use of the exercises in both the classroom and in writing groups. The book concludes with general advice and direction on how to get published.

Based on years of hands-on experiences in the teaching of creative writing in high schools, colleges, and after-school writing clubs, this volume of exercises offers inestimable value to students and teachers in the traditional classroom, as well as a growing number of homeschoolers, those who are part of a writing club or group, and independent writers and learners of all ages.
 

One Hundred Bottles, with its intersecting characters and unresolved whodunits, can be read as a murder mystery. But it's really a survivor's story. In a voice that blends gossip, storytelling, and literature, Z—the vivacious heroine of Portela's award-winning novel—relates her rum-soaked encounters with the lesbian underground, the characters carving up her home, and the terrifying-but-irresistible Moisés. As entertaining as any detective drama, One Hundred Bottles is ultimately made real by very rough love, intense friendship, and something small that decides to live.