Results by title

Finalist, PEN USA Literary Award for Fiction

Asks who gets the right to call themselves a good person in a morally bankrupt world 

In The Flat Woman, women exclusively are blamed for the climate crisis. Seagulls drop dead from the sky, and the government, instead of taking responsibility, scapegoats a group of female ecoterrorists. When a girl’s mother is incarcerated for climate crimes, she is forced to raise herself alone. As a young woman, she begins a romance with an environmental activist whose passion makes her question her own role in the world. By turns hilarious, deadly serious, and completely absurd, The Flat Woman asks who gets the right to call themselves a good person in a world ripe with disaster. 

Driven by complex academic and moral questions, The Flat Woman is certain to appeal to fans of feminist and experimental literature, as well as fans of Margaret Atwood, Renee Gladman, Bhanu Kapil, Maggie Nelson, Kelly Link, and Anne Carson.

A fraudulent fortune teller, a society divorcee, and a spirited prostitute caught up in a story of insanity, ambition, and murder in turn-of-the-century Duluth

Please don’t mistake this story for a murder mystery, May Martin warns us as she settles in to tell her tale. The mystery, she says, is that only one of us ended up dead.

The Fortune Tellers of Zenith City plunges readers into the shadows of Gilded Age Duluth, where the rising walls of Glensheen Mansion mask a city built on industry and rife with sin. May Martin, a dubious clairvoyant haunted by her past, finds her survival tethered to Agnes Petre, a true seer and wealthy divorcee. As May and Agnes forge a partnership in fortune telling to weather the conditions of the gritty port city, their malicious ex-husbands, John and Douglas, start romantic affairs with the carefree Ethelwynne Dean. These tangled relationships clash with brothel owner Madame Gain, a notorious criminal with debts to collect, the ruthless tycoons who rule the iron mines, and the working-class residents struggling beneath them. Beside the icy, foreboding depths of Lake Superior, these denizens must navigate a maze of lies, ambition, and even murder while keeping their own secrets hidden. And the greatest mystery isn’t the spirits they summon—it’s who will escape the impending storm.

With scrupulous attention to historical detail, Mary Dupont recreates the lost world of Duluth at the turn of the twentieth century, delivering chicanery, suspense, drama, and humor through May’s wary, witty perspective—with a thrilling twist at the end.

Retail e-book files for this title are screen-reader friendly with image accompanied by short alt text and/or extended description.

The haunting, multigenerational saga of a family of Sámi women fighting the devastation of their way of life

Nothing is true, and everything is true; poetry will never hurt more than what has happened. Every summer, Iŋgá, her mother Rávdná, and her Aunt Ánne travel west to their village on the lake. But the summer Iŋgá is thirteen, they arrive to find their home and possessions have disappeared under water, the land flooded by a dam built to supply hydropower to a society that has continually stolen from them.

The Home of the Drowned follows these women’s fortunes over forty years—from 1942 to 1982—as the water their people have lived near for centuries is transformed into a menacing force that threatens all they hold dear. Defying the authorities, Rávdná decides to build a proper house on the lake to replace what was lost, becoming an unlikely activist even as her actions isolate her family from the rest of the community. Meanwhile, Ánne’s health is in decline, and a concerned Iŋgá merely longs to live like everyone else—an impossible wish when the Swedish state is relentlessly drowning her world.

Drawing on her own family’s history of forced relocation and violent colonial dispossession, Elin Anna Labba’s debut novel brings Sámi history to the fore through this intimate story. In poetic prose deftly translated by Elizabeth Clark Wessel, she reveals connections between land, water, and people that hauntingly reverberate with the question: what is it that makes a home?

Retail e-book files for this title are screen-reader friendly.

Like waves ebbing and flowing, love surges and subsides among four friends who share a vacation at the house on the beach. As they navigate the seas of love and friendship, jealousy and unfaithfulness, Elena, Marta, Eduardo, and Rafael are swept up in the opposing currents that flow between security and personal freedom, marriage and sexual liberation, family and work, provincial and city life, and traditional and unconventional gender roles.

This deceptively simple novel, published in Mexico in 1966 as La casa en la playa and here translated into English for the first time, is an important work by one of Mexico's, and indeed Latin America's, major writers of the twentieth century. Juan García Ponce helped Mexican arts and letters break out of the ossified styles and themes of the post-Revolutionary "Mexican School" with works that explore the conflict between individual desire and the demands of family and work. Written at a turning point in his career, The House on the Beach foreshadows his embrace of the erotic encounter as a means of undermining rigid, socially constructed personal identity. It supports feminist views and probes deeply into the contradictions, backwardness, and progress of modern Mexican society.

A witch, a ward, and a houseboat adrift in time—where beauty and terror share the helm.

The mysterious houseboat Veronica motors across a postapocalyptic freshwater lake, inhabited by a black-haired witch and her young male ward. They explore an unfolding world of shape-shifting moons, vampire moths, and submerged witch cemeteries—a world where voluntary imprisonment holds its own appeal and the heart yearns for the delicate dance between blood and power, beauty and terror.

Neither a pirate nor a mere witch, she is an artist, a master of water and time who shapes reality with her baffling powers. This lyrical and compelling novel beckons readers to explore the enigmatic depths of its prose, inviting them to traverse the waters of wonder and bewilderment. Embrace the bewitching allure of The Houseboat Veronica and lose yourself in its enchanting embrace.

Centered around Lena Wu, a middle-aged Taiwanese immigrant and divorcee, the novel is a recursively structured interrogation of the contingencies between past and present; memory and self-understanding; and memoir and fiction.

At the Ndola Muto Salon Douala, Cameroon, women slip behind closed doors to seek pleasure, refuge, and one another. When young Violette begins work there as a courtesan for women to support her family, she enters a world her mother cannot accept, where desire moves quietly but powerfully. Part sanctuary, part hidden house of pleasure, the salon becomes a mirror of empowerment, longing, and possibility beyond the restrictions of Cameroonian society. Within its walls, Violette encounters a constellation of women who shape her awakening: Lady Budu, the formidable owner; Caroline, who first opens her to joy; and the enigmatic Lady with Sexy Toes, who urges her to imagine a life of her own making. As these lives intertwine in this evocative novel, the salon reveals how tenderness between women can become an act of resistance, defying patriarchy, class, and convention in small but profound revolutions.

Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.

"The Novel as Event brilliantly does two things: presents a strikingly new theory of the way novels have effect in the social world, and also presents original readings of five major Victorian novels as demonstrations of the way that theory may be exemplified in practice. No other book that I know of does either of these two things in at all the same way."
---J. Hillis Miller, University of California, Irvine

"I have no doubt that this book will become an important part of a renewed questioning of a certain unchallenged historicism prevalent in Victorian novel studies from the beginning."
---Kevin McLaughlin, Brown University

The Novel as Event is a timely reconsideration of the historical role of the Victorian novel from the perspective of its performativity. In a highly original application of the work of Jacques Derrida, Paul de Man, Pierre Bourdieu, Judith Butler, and other readers of J. L. Austin, Mario Ortiz Robles argues that the language of the novel is paramount and that the current emphasis on the representational and physical aspects of the novel tends to obscure this fact. He provides brilliant original readings of five major Victorian novels: Dickens's Our Mutual Friend, Brontë's Jane Eyre, George Eliot's Middlemarch, Thackeray's Vanity Fair, and Collins's The Woman in White, illustrating that it is impossible to fully grasp the cultural power of the novel, from its role in the cultivation of manners and the conduct of courtship to the consolidation of bourgeois ideology and the construction of the subject, without an adequate account of the performativity of its language. By considering the novel as a linguistic event, Ortiz Robles offers a new explanatory model for understanding how novels intervene materially in the reality they describe, and, in doing so, he seeks to reinvigorate critical debate on the historicity of the realist novel and current methods of cultural criticism. The Novel as Event serves as a well-timed corrective to the narrow historicist approach to the materiality of the novel that currently holds sway.

Mario Ortiz Robles is Assistant Professor of English at the University of Wisconsin, Madison.

Cover art: "Untitled page from Constance Sackville West Album." Courtesy of George Eastman House, International Museum of Photography and Film.

Scholars have long been fascinated by the creative struggles with genre manifested throughout Dostoevsky’s career. In The Novel in the Age of Disintegration, Kate Holland brings historical context to bear, showing that Dostoevsky wanted to use the form of the novel as a means of depicting disintegration brought on by various crises in Russian society in the 1860s. This required him to reinvent the genre. At the same time he sought to infuse his novels with the capacity to inspire belief in social and spiritual reintegration, so he returned to some older conventions of a society that was already becoming outmoded.

In thoughtful readings of Demons, The Adolescent, A Writer’s Diary, and The Brothers Karamazov, Holland delineates Dostoevsky’s struggle to adapt a genre to the reality of the present, with all its upheavals, while maintaining a utopian vision of Russia’s future mission.