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In Ryan MacDonald’s stories, most no more than a page in length, we are given glimpses of a father and daughter at the zoo; an isolated man lamenting the absence of TV in his life; two young men atop a fridge at a party, drinking wine. These are stories of marriage and family, of the oddities of the natural world, of college parties, of web-cams and media obsession.
 
As MacDonald says, “I think what I’m after in the stories as well as in the video work is finding an experiential moment, nothing really stable, something pleasantly unstable, or uncomfortable . . . purposefully pleasant uncomfortable instability with moments of tenderness and definitely humor. Certainly nothing concrete, unless it needs that. A certain fear of and respect for banality. I’m after a good time, which can often turn into a really bad time, but either way, one we’ll remember forever.”
 
Despite the range of circumstances they reveal, these stories are unified by a brightness of vision, deft observation, and consistently sharp, funny, and unbridled language.

When Nora Griffin, an artist in her midthirties, moves from Brooklyn to Provincetown, she isn't looking for trouble. Her partner, Janelle, is recovering from breast cancer treatment, and together they've decided that the quiet off-season on the tip of Cape Cod is the perfect place for Janelle to heal and Nora to paint. Then charismatic Baby Harris flirts into Nora's life in her red cowboy boots.

In the damp, windy winter, Nora contends with heartbreak, aging, and local environmental worries, while painting what she hopes will be her masterpiece. Along the way, she encounters the chain-smoking, motor scooter–driving landlady Miss Ruby; Reverend Patsy, the vegan minister of the Unitarian church; and Brunhilde, barista extraordinaire and rival for Baby's affections. As the first tourists begin to arrive in June, Nora must decide what she really wants from life.

The Offbeat is an independent literary series devoted to publishing a diverse collection of voices,and to promoting contactand discussion among Michigan writers. The Offbeat is run entirely by Michigan State University undergraduates, and is centered in East Lansing. Student editors encourage contributions by all individuals with a Michigan connection, past and present, visitor and resident, urban and rural, student and non-student alike. The Offbeat’s goal is to provide an alternative literary outlet for all Michigan writers.

 

The Offbeat is an independent literary series devoted to publishing a diverse collection of voices, and to promoting contact and discussion among Michigan writers. The Offbeat is run entirely by Michigan State University undergraduates, and is centered in East Lansing. Student editors encourage contributions by all individuals with a Michigan connection, past and present, visitor and resident, urban and rural, student and non student alike. The Offbeat’s goal is to provide an alternative literary outlet for all Michigan writers.

 

The Offbeat is an independent literary series devoted to publishing a diverse collection of voices, and to promoting contactand discussion among Michigan writers. The Offbeat is run entirely by Michigan State University undergraduates, and is centered in East Lansing. Student editors encourage contributions by all individuals with a Michigan connection, past and present, visitor and resident, urban and rural, student and non-student alike. The Offbeat's goal is to provide an alternative literary outlet for all Michigan writers.

 

The Offbeat is a literary collection series devoted to publishing a diverse selection of voices and to promoting contact and discussion among writers. The Offbeat is run entirely by Michigan State University students, with the goal of providing an alternative literary outlet for Michigan writers.
     This edition contains work by Steven Rajewski, Erin Ashmore, Neil Kennedy, Victoria Henderson, Mary Helmic, Rebecca Klein, Jamie Miller, Ken Sleight, Laura Tisdel, and many others.

 

With Abandon is the eighth volume in the independent literary series, The Offbeat, devoted to publishing a diverse collection of voices, and to promoting contact and discussion among writers. The Offbeat is run entirely by Michigan State Undergraduates, and is centered in East Lansing. The mission of The Offbeat is to provide an alternative literary outlet for writers from Michigan and beyond, and to call attention to voices both emerging and established.
     The Offbeat: With Abandon features a wide array of writing that cuts across genres, highlighting the best work by authors ranging from professional journalists to undergraduate writers. Thrown into the mix are voices from professors of literature, graduate students in creative writing, and even a few of our editorial staff. In this volume, writing is an act of faith, a documentation of the joy and terror of life, and above all, an act of witness.

In 1746, Nathan Blake, the first frame house builder in Keene, New Hampshire, was abducted by Algonkians and held in Canada as a slave. Inspired by this dramatic slice of history, novelist Ernest Hebert has written a masterful new novel recreating those years of captivity. Set in New England and Canada during the French and Indian Wars, The Old American is driven by its complex, vividly imagined title character, Caucus-Meteor. By turns shrewd and embittered, ambitious and despairing, inspired and tormented, he is the self-styled "king" of the remnants of the first native tribes that encountered the English. Displaced and ravaged by disease, these refugees have been forced to bargain for land in Canada on which to live. Having hired himself out as interpreter to a raiding party of French and Iroquois, Caucus-Meteor returns from New Hampshire the unexpected possessor of a captive, Nathan Blake. He decides to bring the Englishman to his own village rather than sell him to the French. Ambivalent about his former life, Blake gradually fits into the routine of Conissadawaga. Meanwhile, Caucus-Meteor struggles to protect his people from the rapacious French governor. Constantly plotting and maneuvering, burdened by responsibility, the Old American exhibits cunning and courage. A gifted linguist who was forbidden to learn to read or write; a former slave who is now a king; a native leader who has seen more of London and Paris than his English captive, who knows more of European politics than the French colonial administrators, Caucus-Meteor is a brilliant, cantankerous, visionary figure whom readers will long remember.

Lally helps to raise three white sisters in the Orchid House on the Island of Dominica and observes as each flees to the cold northern lands of England and America only to return to their magical past and the man they love.

Corrupt lawmen, insatiable businessmen, and an oil boom on Indian land. This is the milieu in which Tom Holm sets his gritty and provocative detective novel.

Life is looking easy for J. D. Daugherty, a crusty ex-cop who has set up his own PI firm in Tulsa, Oklahoma, just after World War I. J. D. expects to make a straightforward living off the intrigues of the city’s wealthy socialites, but then Rose Chichester, a privileged young white woman, runs off with Tommy Ruffle, a young Indian who is heir to Osage oil. Hired by Rose’s father to track down the young pair, J. D. and his associate, a Cherokee named Hoolie Smith, find themselves caught in the cross fire of a deadly scheme. When Tommy turns up murdered and with Rose still missing, J. D. and Hoolie must navigate a twisting maze of deception, race riots, and gun battles in their unrelenting search for the truth—a search that ultimately leads to an intimate secret no one suspected.

Tom Holm writes a true private-eye mystery, yet he entwines the story’s layers of conspiracy and deceit with the realities of prejudice and hatred that existed during the early years of Oklahoma statehood. Rooted firmly in its time, Holm’s well-researched novel tells a complex and compelling story of individuals struggling to find justice at any cost in a world still caught between modernity and its Wild West legacy.

These stories represent the "second wave" of fiction—works about the aftermath of the Vietnam conflict as it moved into both countries, touching and forever changing not only the veterans, but also their families and their societies. Contributors include John Edgar Wideman, Larry Brown, Robert Olen Butler, Philip Caputo, Bobbie Ann Mason, Ngo Tu Lap, Tim O'Brien, and others.

The new and selected stories in this collection, written over a period of thirty years, are firmly entrenched in the culture and people of rust belt cities and rural Appalachia.
These stories are often set against large, significant events like the Cold War, Vietnam, and the Kent State shootings, but are always uniquely local. A mother fends off the police by brandishing copperhead snakes. A woman cares for the dog of an alleged double murderer. A husband who has lost his job works at trying to save his wife from a debilitating phobia.
 
This extensive collection by Gary Fincke, an accomplished poet and writer of fiction, gives rise to ordinary people living lives made fascinating by attention to the particulars of voice, place, and character. With precise language, surprising imagery, and sharp, evocative dialogue, these stories deepen beyond the oddities of their characters, who are scarred and defeated by circumstance and choice, but also attain moments of grace, compassion, and generosity of the spirit.
 

The Ozark Trilogy (previously published in 1981, Doubleday) is a widely acclaimed fantasy/science fiction story with, as the title suggests, very strong ties to the Ozark region. Twelve Fair Kingdoms, The Grand Jubilee, And Then There’ll Be Fireworks—the books that comprise the trilogy—chronicle life on the planet Ozark and its Confederation of Continents, which are appropriately named Arkansaw, Oklahomah, Mizzurah, Tinaseeh, Kintucky, and Marktwain. However, the story told here involves much more than a mere transplant of Ozark culture and heritage onto a new planet. While this new Ozark culture maintains and even intensifies many of the “real” Ozark traditions and customs (for instance, “Grannys” hold significant, stabilizing social roles and are important sources of wisdom), the planet Ozark combines many new, fantastical elements with traditional ways. Mules on Ozark fly, and the wise “Grannys” also work magic.

The protagonist of The Ozark Trilogy, Responsible of Brightwater, appears at the center of Ozark society, a society she must save from evil magic, civil war, and, ultimately, alien invasion. As Responsible travels from continent to continent in an attempt to discover and squelch the evil magic and calm the civil unrest, we are witness to many dangerous and sometimes comical adventures along the way, including a spectacular flying Mule crash and a magic duel with a Granny gone bad.

Elgin has created a fantastic world infused with the folk traditions, social and familial hierarchies, and traditional dialect of the Ozarks. While parallels might be drawn between, for example, the break-up of the Confederacy of Continents on planet Ozark and the American Civil War, Elgin comments on aspects of Ozark history and tradition in a non didactic way. The trilogy, with its strong heroine and witty engagement of tradition, is a classic of Ozark literature.

"You learn dat dis world don't love negar! And negar don't make for dis world!" Zachariah's mother warned him when he was still a boy. Yet, poor and abominably ugly, the Jamaican fisherman grasps lovingly for life, though the worst forces of nature conspire against him. Washed far out to sea in the night, Zachariah is attacked by a hammerhead shark, scorched by the Caribbean sun, hurled about by the sea which both frightens and entices him, and confused by his own encroaching madness. In a rare weave of humor and sadness, Zachariah forces himself to reflect on his life and the strangeness of chance, on anything but his place as a small man in a fragile boat in the boundless sea.

Still on land are the villagers, the woman, and the sons who comprise life for Zachariah. While he struggles with the forces of nature, the natural faith of the villagers encounters the incapacity for belief of the troubled English doctor. As the superstitions and certainties of Jamaican life and the consequences of science meet, Winkler reveals a rich understanding of the precarious balance between thought and reality, between the coincidental and the miraculous.

"This is one of those rare novels that announces its presence with such modest grace that the size of its ambition and accomplishments steals gently into the consciousness."—Michael Thelwell, Washington Post Book World

"Mr. Winkler deftly unfurls his exquisitely written story, which is redolent of the colorful patois and chaotic flavor of rural Jamaican culture."—Bob Allen, Baltimore Sun

 

In 1936, a child is born in the mountains of West Virginia. In 2005, he scatters his past into a deep canyon of rock. The Pale Light of Sunset: Scattershots and Hallucinations in an Imagined Life illuminates the journey of this boy, a constant tourist and visitor, who travels everywhere, yet belongs nowhere. Through tales of swarming hornets and swinging bullies, love affairs with the land and its people, and near death by frostbite and heat stroke, the absurd hilarity and clear, tender voice found within this story navigates a surreal road paved by the experiences of one man.

 

Author of nationally acclaimed and locally banned novels Crum and Screaming with the Cannibals, Lee Maynard details an imaginative account of his journey through seventy years of hard living—from West Virginia, to Mexico, the Arctic Circle, and beyond. Scattered and hallucinated, The Pale Light of Sunset grants a long-awaited glimpse into the bent condition of the Maynard brain.

 

The writings of William Gilmore Simms (1806-1870) provide a sweeping fictional portrait of the colonial and antebellum South in all of its regional diversity. Simms's account of the region is more comprehensive than that of any other author of his time; he treats the major intellectual and social issues of the South and depicts the bonds and tensions among all of its inhabitants. By the mid-1840s Simms's novels were so well known that Edgar Allan Poe could call him "the best novelist which this country has, on the whole, produced." The thirteenth volume in the ongoing Arkansas Edition of the works of Simms, The Partisan is the first in order of publication of Simms's Revolutionary War romances. Although Simms took advantage of the novelist's prerogative to invent characters and events for his saga, he did so with a historian's eye, making extensive use of official histories; letters, diaries, and other documents; family traditions; and unpublished and published memoirs. Simms gives human interest to the novel's historical framework with two love triangles, mixing romantic conventions with gritty realism that outlines the four classes of Simms's ideal society. The Partisan is also remarkable among Simms's work for its use of symbols, indicating, perhaps, a new intention for the novel. The result is a satisfying work of literary art enlivened with adventure and humor while remaining true to the history behind it.

The Past Leads a Life of Its Own is a compelling collection of stories centered around one boy's childhood in the rural midwest in the 1950s, his love of nature, his family, and their often nomadic existence.

"Going through these pages quickly would be like chug-a-lugging a jar of honey fresh from the comb, or wolfing down a slow-cured, hickory-smoked country ham. It is a rich and complexly flavored work of fiction, a book to be savored."—Harper Barnes, St. Louis Post-Dispatch

"Set against the rhythms of nature, Fields's 16 luminous, interrelated stories celebrate a boy's coming-of-age. . . . The beauty of these deeply felt stories lies in their spare, ear-perfect language and in quiet epiphanies."—Publishers Weekly

"[A] beautifully subtle work. . . . Here are a series of vignettes, each capturing some moment in nature, poetic and ethereal. . . . [They] are like stones skipping on water, capturing the struggles of a family leaving one way of life behind for another, Fields remembers the feeling of a time and a place gone forever."—Library Journal

Having a baby to save a marriage—it’s the oldest of clichés. But what if the marriage at risk is a gay one, and having a baby involves a surrogate mother?
    Pat Faunce is a faltering romantic, a former poetry major who now writes textbooks. A decade into his relationship with Stu, an airline pilot from a fraught Jewish family, he fears he’s losing Stu to other men—and losing himself in their “no rules” arrangement. Yearning for a baby and a deeper commitment, he pressures Stu to move from Manhattan to Cape Cod, to the cottage where Pat spent boyhood summers.
    As they struggle to adjust to their new life, they enlist a surrogate: Debora, a charismatic Brazilian immigrant, married to Danny, an American carpenter. Gradually, Pat and Debora bond, drawn together by the logistics of getting pregnant and away from their spouses. Pat gets caught between loyalties—to Stu and his family, to Debora, to his own potent desires—and wonders: is he fit to be a father?
    In one of the first novels to explore the experience of gay men seeking a child through surrogacy, Michael Lowenthal writes passionately about marriages and mistakes, loyalty and betrayal, and about how our drive to create families can complicate the ones we already have. The Paternity Test is a provocative look at the new “family values.”

An extraordinary novel, told partly in verse, The People from Heaven takes place in 1943 in Warrensburg, New York, where Eli Bishop, a white shopkeeper, initiates a reign of terror on the populace following his rape of America Smith, a black woman. The author, John Sanford, is considered by many to be one of the finest little-known writers of the twentieth century. In his introduction, Alan Wald provides an overview of Sanford's career, his art, and his politics.
 

In this lively, enjoyable look at the best American and British detective fiction, David Lehman investigates the mystery of mysteries: the profound satisfactions we get from evil, disorder, mayhem, and deception--that we know will be put right by the last page.
As Lehman shows, the detective story draws deeply from ancient storytelling traditions. The mystery's conventions--the locked room, the clue "hidden" in plain sight, the diabolical double, the villainous least likely subject--work on us as childhood fairy tales do; they prey upon our darkest fears, taking us to the brink of the unbearable before restoring a comforting sense of order. The myth of Oedipus, for example, contains the essential elements of a whodunit, with the twist that the murderer the detective pursues is himself.
With their wisecracking gumshoe heroes, Dashiell Hammett and Raymond Chandler fashioned an existential romance out of the detective novel. More recent writers such as Ross MacDonald, P. D. James, and Ruth Rendell have raised the genre to a new level of psychological sophistication. Yet the form evolves still, and Lehman guides us to the epistemological riddles of Jorge Luis Borges and Umberto Eco, who challenge the notion of a knowable truth. Originally published in 1989, this new edition features an additional chapter on the mystery novels of the 1990s.
"A lively study of the development and varieties of the detective story since Poe, its relations with other forms high and low, and the latter-day appropriation of its techniques by such writers as Borges and Eco. . . . A thoroughly intelligent and readable book." --Richard Wilbur, Pulitzer-Prize winning poet
David Lehman is the series editor of both the The Best American Poetry, published by Scribner, and the Poets on Poetry series published by the University of Michigan Press. He is a former Guggenheim Fellow in poetry, a vice president of the National Book Critics Circle, and the author of several books of criticism and collections of poems.

In The Perp Walk, his latest collection of linked stories, Daniels maps out the emotional capitals and potholes of coming of age in a blue-collar town in the Great Lakes State, though it could be any state where people work hard, play hard, and aren’t paid nearly enough for their efforts. Alternating flash fiction pieces with longer narratives, Daniels captures both the shooting stars and the constellations that build into earned insights and honest reflections. Sometimes we need both the long version of the short version and the short version of the long version, he suggests. Daniels invites his readers to settle on some truth in between the versions. Humor and heartbreak. Coming to terms, coming of age, or just plain aging. U-Haul trucks full of bad behavior and messy goodbyes. In Daniels’s work, the check is always in the mail but somehow never arrives, and honor is more than a certificate—it’s something we strive for, even while doing our various perp walks through life. Compromises are made, as they must be. Sometimes we get what we want for just a second or two, but for these characters, that has to be enough happiness to live on.

The Pet Thief is a dystopian fable of science, rebellion, humankind’s inhumanity, and the struggle for identity and survival in a post-human world.

 

When scientists, the government, and venture capitalists conspire to hybridize humans with animals—cats, specifically—for organ harvesting, drug testing, and military applications, the experiment is an irredeemable failure, producing human-like beings with uncanny abilities who are nonetheless fundamentally defective.
 

Oboy and his mentor/tormentor Freda are two wayward hybrids, “cat people,” who have escaped with others to the depths of a rundown European city being leveled for reconstruction. They are members of a street gang led by an ominous leader called Swan.
 

Oboy is unable to think or speak except in mimicry, but he is a physical savant, which serves Freda’s mission. Enraged at what has been done to her, Freda wants to “rescue” every pet she can. When Oboy returns with a human baby after his first solo outing, their world and the truths of their existence come unraveled.

On a street in Dorchester, England, there is a gateway between real and imagined lives. A plaque identifies a Barclays Bank building as “lived in by the Mayor of Casterbridge in Thomas Hardy’s story of that name written in 1885.”
In this imaginative novel, worlds continue to collide as Floyd, an American writer recovering from a devastating neuro-viral attack, and his wife, Beverly, immerse themselves in Hardy’s world. While pondering the enigma of a fictional character living in a factual building, Floyd is approached by Hardy himself—despite his death in 1928.
            This phantom—possibly conjured out of Floyd’s damaged brain—tasks the Americans with finding out what Hardy missed in love. Embarking on their quest, they visit Hardy’s birthplace, home, and grave, exploring the Dorset landscape and the famous novels with their themes of tormented love. Peering into the Victorian past, they slowly dismantle the clutter of screens that Hardy placed around his private life, even as their own love story unfolds, filled with healing and hope.

In this new edition of The Piazza Tales, the editors of the acclaimed Northwestern-Newberry Edition of the Writings of Herman Melville have used the original magazine versions for five of the six stories in order to present the most accurate tests of these works. Here, in such famous stories as "Bartleby, the Scrivener" and "The Encantadas, or Enchanted Isles," we find Melville's imagination and style at its best. Of the less well known tales, the humor in "The Piazza" and "The Lightning-Rod Man," and the gothic horror of "The Bell Tower," command attention as well. Whether in the exotic Galapagos or the more familiar climes of Wall Street or a Massachusetts farmhouse, Melville's power and imagination transport the reader into his unique worlds.

This scholarly edition presents texts as close to the author's intentions as surviving evidence permits. Based on surviving manuscripts, on original newspaper and magazine printings, and on collations of magazine printings with the book of editions of The Piazza Tales, the text incorporates over 800 emendations by the editors and over 200 from later printings during Melville's lifetime.

This edition is an Approved Text of the Center for Editions of American Authors (Modern Language Association of America).

In this new edition of The Piazza Tales, the editors of the acclaimed Northwestern-Newberry Edition of the Writings of Herman Melville have used the original magazine versions for five of the six stories in order to present the most accurate tests of these works. Here, in such famous stories as "Bartleby, the Scrivener" and "The Encantadas, or Enchanted Isles," we find Melville's imagination and style at its best. Of the less well known tales, the humor in "The Piazza" and "The Lightning-Rod Man," and the gothic horror of "The Bell Tower," command attention as well. Whether in the exotic Galapagos or the more familiar climes of Wall Street or a Massachusetts farmhouse, Melville's power and imagination transport the reader into his unique worlds.

This scholarly edition presents texts as close to the author's intentions as surviving evidence permits. Based on surviving manuscripts, on original newspaper and magazine printings, and on collations of magazine printings with the book of editions of The Piazza Tales, the text incorporates over 800 emendations by the editors and over 200 from later printings during Melville's lifetime.

This edition is an Approved Text of the Center for Editions of American Authors (Modern Language Association of America).

 Alex McKelvey longs to fit in. She doesn’t realize that her earth-mother style—the connections she feels toward the earth and to a certain eerie pictograph panel—sets her off from the crowd. Wanting only to enjoy the beauty of the Utah desert, she packs up her gear and her Siberian husky, Kit, and joins an archaeological dig. But when the site’s owner vanishes, forces combine to sweep up Alex and Kit in a whirlwind of pot hunting, witchcraft, and murder. Who is that stranger who suddenly appears, styling himself on the folklore figure Coyote? His ability to draw the best—and the worst—from Alex leads her to the dismaying discovery that the villain she seeks is closer at hand than she had thought.

For The Pied Piper, Czech writer Viktor Dyk found his muse in the much retold medieval Saxon legend of the villainous, pipe-playing rat-catcher. Dyk uses the tale as a loose frame for his story of a mysterious wanderer, outcast, and would-be revolutionary—a dreamer typical of fin de siècle Czech literature who serves Dyk as a timely expression of the conflict between the petty concerns of bourgeois nineteenth-century society and the coming artistic generation. Impeccably rendered into English by Mark Corner, The Pied Piper retains the beautiful style of Dyk’s original Czech. The inspiration for several theatrical and film adaptations, including a noted animated work from critically acclaimed director Jiří Barta, Dyk’s classical novella is given new life by Corner’s translation, proving that the piper is open to new interpretations still.

As bombs begin to fall on Pearl Harbor, nineteen-year-old PFC Richard Mask is wearing a pistol, a .45 caliber automatic that makes him feel connected to the army of the Wild West and Custer's Cavalry. In the chaos of his first days and weeks of the war, as Mask and his company move from Schofield Barracks to the beaches of Oahu, then to a remote mountain pass, a struggle over the pistol dominates this novella's action, providing the pathos and savagery of the story.

Finalist, 2018 John Gardner Fiction prize

The Place of Stones is Ali Hosseini’s newly translated first novel, his second book to appear in English. In it, he paints a vivid portrait of Sangriz, a village in the southern part of Iran where life has been disrupted by industrialization and the revolution of 1979.

Haydar and Jamal are best friends, and their families have always made their living from the land in the foothills of Iran’s Zagros Mountains. Haydar is a dreamer who searches the hills for an ancient treasure called the Black Globe. Jamal is in love with Haydar’s sister, Golandam, and he attempts to accommodate himself to modernization as a way to create a better life for the two of them. The rapacious conversion of farmland to brick factories draws the trio into escalating conflict with the village landlord.

As Jamal, Haydar, and their families confront land reform, industrialization, revolution, and war, their lives are pulled forcefully toward the explosive events that will change them all. In masterfully crafted prose that never sinks into sentimentality, The Place of Stones illuminates how a lost past continues to shape the present.

In Giovan Francesco Straparola’s The Pleasant Nights, a group of men and women gather together in a villa on the Venetian island of Murano during Carnival to sing songs, tell tales, and solve riddles. A sixteenth-century bestseller, The Pleasant Nights is today a fundamental text for European folk and fairy tale studies, for alongside triumphal and tragic love stories, comical tales of practical jokes, and accounts of witty retorts, Straparola (1480? – 1557?) placed some of the first fairy tales printed in Europe. Straparola’s eloquent female narrators and the fairy tales they recount became a model for a generation of French women writers in Parisian salons, who used the fairy tale to interrogate the gender norms of their day. This book presents the first new and complete English translation of Straparola’s tales and riddles to be published since the nineteenth century.

Set in a small town in Switzerland, The Pledge centers around the murder of a young girl and the detective who promises the victim’s mother he will find the perpetrator. After deciding the wrong man has been arrested for the crime, the detective lays a trap for the real killer—with all the patience of a master fisherman. But cruel turns of plot conspire to make him pay dearly for his pledge. Here Friedrich Dürrenmatt conveys his brilliant ear for dialogue and a devastating sense of timing and suspense. Joel Agee’s skilled translation effectively captures the various voices in the original, as well as its chilling conclusion.

One of Dürrenmatt’s most diabolically imagined and constructed novels, The Pledge was adapted for the screen in 2000 in a film directed by Sean Penn and starring Jack Nicholson.