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Winner of FC2’s Catherine Doctorow Prize in Innovative Fiction

Some disappearances are chosen. Others are survived.

The stories in Victoria Lancelotta’s Ways to Disappear excavate the unexamined places between dread and desire, promise and threat, where the body is both prison and salvation. Populated by the grieving and the exultant and those who see no difference between the two, by men and women who are only a little bit broken and boys and girls who can’t wait to be, by souls untethered, rootless, yet bound by blood and flesh, Lancelotta’s characters are driven by the irresistible need to be a bigger part of the worlds they each inhabit, by turns strange and commonplace. In language lush and jagged, never sentimental, these stories scrutinize the exhaustion and enchantment of the everyday: houses seething with resentment and devotion, cars dream-full and hurtling the children in them into a world they think they know but can’t imagine; front porches, back yards, luxury hotels, and truck stops. Lancelotta understands that sometimes people check their wounds not to see if they’ve healed, but to be sure they’re still there.

A Debutiful Best Debut Short Story Collection of 2025

In these eleven stories, a Mennonite minister’s daughter moves from a youthful, exuberant understanding of her family’s faith toward religious doubt. Stumbling comically at times, Ruthie navigates life with and without the rules in which she’s been raised. Always physical, often sexual, Ruthie’s search for personal truth leads her from missionary outposts in Paraguay and Brazil to Mennonite towns in northern Indiana and central Kansas, a vandalized Native American site, women’s healthcare clinics, and lingerie shops on the secular, melancholy East Coast. Ultimately, these stories consider how faith and identity intertwine, the cost of abandoning one’s cultural heritage, and the complicated longing for return.

A man is visited by his now famous ex-boyfriend, and he ponders a life that might have been. A new roommate destabilizes the close friendship between two twenty-somethings. A homesick immigrant plans an eightieth birthday party for the neighborhood grouch. A grisly crime sweeps up an unassuming history teacher, throwing him into the role of outcast.

El Paso serves as a backdrop for many of stories in this deeply human debut collection by Jonathan Ayala. Offering a portrait of contemporary gay Chicano lives, Ayala’s characters contend with the complexities found in navigating belonging, homecoming, falling in love, falling out of love, friendship, and what it means to be Mexican American in the United States today.

These thirteen emotionally rich, character-driven stories are filled with humor, tenderness, and insight into love, friendship, and community.

Walid Ikhlassi evokes the individual's struggle for dignity and significance in the Syrian city of Aleppo during the French mandate of the forties and fifties. His characters' seeking of personal fulfillment parallels the struggle of the nation for self-definition. The changing political and cultural landscape of Syria challenges individuals in their attempts to live lives of integrity, as Ikhlassi provides analytical insights into the civil society of Syria, the axis of his writing.

From the boy Antara who personifies the Arab legend of a half-African slave warrior/hero to everyday middle-aged lovers, Ikhlassi's characters fight colonial oppression and corruption from the newly formed government. Foreign and internal forces challenge the evolution of a modern nation rooted in traditional Arab values. Its strong and determined men and women refuse to accept victimhood. The introduction by author and critic Elizabeth Warnock Fernea places the stories in their historical and literary context.

An avowed experimentalist, Ikhlassi portrays the modern human situation through techniques as widely divergent as realism, surrealism, interior monologue, and stream-of-consciousness. Selections of his work have been translated into English, Russian, French, German, Dutch, Armenian, and other languages.

A beloved, smart, and bold story collection surges back to life in a new print edition

Hailed as “revolutionary fiction,” When the Messenger Is Hot gleefully upends the short-story form, rendering the absurdities and possibilities of modern urban life with disarming humor and keen perception as Crane weaves through grief and womanhood. The women in Elizabeth Crane’s world are fierce and kind, damaged and optimistic. They are jilted lovers, absent daughters, twelve-steppers, and smart-asses, recovering from loss, addiction, or betrayal. From a woman who decides to live on the rooftop of her friend’s apartment (why not?), to a writer whose identity is compromised by the actress who portrays her, to a daughter who believes her deceased mother is still alive and living at the bus depot, these characters experience love and loss in a way that is both profoundly universal and uniquely theirs.
 

Diane Seuss's poems grow out of the fertile soil of southwest Michigan, bursting any and all stereotypes of the Midwest and turning loose characters worthy of Faulkner in their obsession, their suffering, their dramas of love and sex and death. The first section of this collection pays homage to the poet's roots in a place where the world hands you nothing and promises less, so you are left to invent yourself or disappear. From there these poems both recount and embody repeated acts of defiant self-creation in the face of despair, loss, and shame, and always in the shadow of annihilation.

With darkly raucous humor and wrenching pathos, Seuss burrows furiously into liminal places of no dimension— state lines, lakes' edges, the space “between the m and the e in the word amen.” From what she calls “this place inbetween” come profane prayers in which "the sound of hope and the sound of suffering" are revealed to be “the same music played on the same instrument.”

Midway through this book, a man tells the speaker that beauty is that which has not been touched. This collection is a righteous and fierce counterargument: in the world of this imagination, beauty spills from that which has been crushed, torn, and harrowed. “We receive beauty,” Seuss writes, “as a nail receives / the hammer blow.” This is the poetry that comes only after the white dress has been blown open—the poetry of necessity, where a wild imagination is the only hope.