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Before Love became a household name, she was Lacey Dove Bart, a determined teen with dreams of stardom. Desperate to escape her bleak small-town life, Lacey dazzles at an audition for the prestigious Newland Academy, catching the eye of mega producer Jimmy Coins. Lacey’s friend and co-performer, Carrie-Anne, believes they’re on the brink of achieving their shared dream of escaping Appalachia. But a betrayal by Lacey leaves them both reeling.

As Lacey is transformed into “Love,” the carefully controlled idol of a generation, she loses piece after piece of herself. She’s contracted for stints on Christian variety shows, toured through malls and state fairs, and even locked in a fortress-like mansion between recording sessions. With her life spiraling out of control and younger, hungrier replacements waiting in the wings, Love’s only chance at freedom is to reconnect with Carrie-Anne and seek redemption in the one authentic bond she has left. Part pop elegy, part horror story, part radical reimagining of female celebrity, Ultranatural autotunes the static of fame until it sounds like prophecy.

As wryly profound as ever, Glen Pourciau solidifies his reputation as a master of American short fiction with Under, a collection of brief yet meticulously elaborated stories that deconstruct daily living as his characters see it by diving beneath their skin and surveying the electric heat bristling below. He scours their interiors for the granular details of consciousness that accrue to a person's singular point of view, shape patterns of behavior, and culminate in consequential decisions (or equally meaningful inaction). Pourciau's writing thrums with claustrophobic intelligence, untangling the knots of eccentric personalities by observing the trajectory of his subjects' thoughts and tracing them back to the source. Rarely is the root an inciting incident or narrative catalyst, but rather the self-propagating algorithm of paranoia that proves to us we have something to fear precisely because we are afraid. Pourciau's titular story begins with the narrator confessing, "A voice from within is telling me this story. It rises like protruding lumps from nowhere." More often than not, plots that start inside one's head refuse to stay there; soon, psychological disruption asserts itself in the material world, determining a character's lived experience as tangibly as an external force or outside actor. "I've been watching a patch of ground in my backyard that has been upset by something moving up from below," the narrator continues. It's no comfort, actually, that what is emerging never actually emerges; a lack of conclusive evidence means never fully disproving the possibility of the thing, either. "Nothing is buried or rising from below in my backyard. My conscience is clear, guided only by its own instinct," the narrator assures himself to no avail. "This story should be rooted out, destroyed, but talking to it doesn't make it go away. Even when silent, something insidious gnaws within it." Pourciau's ability to illuminate that something insidious is what makes his writing something marvelous. No less instructive or revelatory for their internal accelerants, these stories spotlight the small conflagrations that punctuate even our most ordinary days. In delineating the invisible machinations of each person's mind, they reveal the flammable borders of personal boundaries and the conflicts with colleagues, neighbors, and long-time friends that cast off sparks and set our small lives ablaze.

“I was a monument to immigration—now I’m a border control cop.” So admits the Statue of Liberty in Giannina Braschi’s United States of Banana, a rollicking and nakedly political allegory of US imperialism and Puerto Rican independence. Illustrated by Swedish comic book artist Joakim Lindengren and based on Braschi’s epic manifesto by the same title, the story takes us along on the madcap adventures of Zarathustra, Hamlet, and Giannina herself as they rescue the Puerto Rican prisoner Segismundo from under the skirt of the Statue of Liberty. Throughout their quest, the characters debate far-ranging political and philosophical subjects, spanning terrorism, global warming, mass incarceration, revolution, and love. The Marx Brothers, Pablo Neruda, Barack Obama, Disney characters and more make appearances in this stirring call to overthrow empire, liberate the imprisoned masses, and build a new country rooted in friendship, art, poetry, and laughter.

When Tave wakes up alone in the hospital, she barely remembers the car wreck. Far from home, dazed, and despondent, she struggles to face the challenges of her new paralysis—all while worrying about her partner, Les, also severely injured in the accident, now cared for by her homophobic parents who refuse to allow contact.

In rehab, Tave relearns life skills and comes to recognize that her future will be completely different than she’d imagined. Where will she live? How will she find the help she needs? Can her friends rise to the occasion? Or will she be forced to move back in with her mother, putting up with endless talk of faith healers? Her one beacon of hope is Beth, her physical therapist. But Beth’s relationship problems with her own girlfriend push her toward overinvolvement—and risk damaging both her career and Tave’s recovery.

A story of courage, resilience, and love, Unswerving challenges readers’ preconceived notions of disability, of limitations, and of the inevitability of fate.

Upon its initial release in Arabic in the fall of 2014, Using Life received acclaim in Egypt and the wider Arab world. But in 2016, Ahmed Naji was sentenced to two years in prison after a reader complained that an excerpt published in a literary journal harmed public morality. His imprisonment marks the first time in modern Egypt that an author has been jailed for a work of literature. Writers and literary organizations around the world rallied to support Naji, and he was released in December 2016. His original conviction was overturned in May 2017 but, at the time of printing, he is awaiting retrial and banned from leaving Egypt.

Set in modern-day Cairo, Using Life follows a young filmmaker, Bassam Bahgat, after a secret society hires him to create a series of documentary films about the urban planning and architecture of Cairo. The plot in which Bassam finds himself ensnared unfolds in the novel’s unique mix of text and black-and-white illustrations.

The Society of Urbanists, Bassam discovers, is responsible for centuries of world-wide conspiracies that have shaped political regimes, geographical boundaries, reigning ideologies, and religions. It is responsible for today’s Cairo, and for everywhere else, too. Yet its methods are subtle and indirect: it operates primarily through manipulating urban architecture, rather than brute force. As Bassam immerses himself in the Society and its shadowy figures, he finds Cairo on the brink of a planned apocalypse, designed to wipe out the whole city and rebuild anew.