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A prismatic, imaginative exploration of David Bowie’s last days

An intricate collage-novel fusing and confusing fact and imagination, Always Crashing in the Same Car is a prismatic exploration of David Bowie through multiple voices and perspectives—the protean musician himself, an academic trying to compose a critical monograph about him, friends, lovers, musicologists, and others in Bowie’s orbit.

At its core beat questions about how we read others, how we are read by them, how (if at all) we can tell the past with something even close to accuracy, what it feels like being the opposite of young and still committed to bracing, volatile innovation.

Set during Bowie’s last months—those during which he worked on his acclaimed final album Black Star while battling liver cancer and the consequences of a sixth heart attack—yet washing back and forth across his exhilarating, kaleidoscopically costumed life, Always Crashing in the Same Car enacts a poetics of impermanence, of art, of love, of truth, even of death, that apparently most permanent of conditions.

Growing up in 1990s Russia in a family marked by poverty, substance abuse, and neglect, Kola and his sister are eventually admitted into the orphanage system. Here, Kola comes face to face with a different but equally daunting challenge: navigating an unfamiliar and sometimes hostile world haunted by the absence of his mother. The ensuing journey, which eventually culminates in the adoption by an Italian family, alternates moments of both trauma and deliverance, while asking fundamental questions about our ability to reconcile ourselves with unfathomable loss.
 
Harrowing yet lyrical, Nikolai Prestia’s prize-winning 2021 novel is a testament to the duality of memory in its ability to both hurt and heal, and to the transformative power of those figures, adults and peers alike, who contribute to a child’s development. Translated into English as part of a collaboration between the author and a mother-daughter translator duo, the novel serves up a wrenching glimpse into the back stories that often precede the adoption of an older child. 

A pivotal summer in the life of Maria Branwell, the mother of the Brontë sisters

In imagined diary entries from the summer of 1812, twenty-nine-year-old Maria Branwell is pondering a momentous choice. Far from her Cornish home, working with her aunt and uncle at their Methodist boys’ school on the moors of Yorkshire, she has just been introduced to the Irish clergyman Patrick Brontë. The two are powerfully drawn to one another, resulting in a proposal Maria accepts wholeheartedly—yet reservations begin to surface. From her earliest years she has felt marked by an uncommon destiny, one she had assumed incompatible with an ordinary life of marriage and children. Does marriage fit into that destiny? Or is there a different path to take? The choice of this woman forgotten by history will alter the course of literature forever.

Weaving together history, literature, and personal experience, this recent book from a master of literature crafts a mesmerizing exploration of language, loss, and the enduring power of the spirit world. 

The strange word “Mdeilmm” was reported to have been uttered by the spirit of Shakespeare when called up during a séance in 1854 at the instigation of the French poet Victor Hugo. Hugo was then living in exile on the island of Jersey where he took part in several such séances. Hélène Cixous weaves this scene into a rich tapestry that draws from many corners of her world, both real and fictional: Dostoevsky’s Idiot, Hugo’s Last Day of a Condemned Man, Poe’s story “The Gold Bug,” but also film footage of the assassination of Itzhak Rabin and many layers of memories of her Algerian childhood. Transcribed communications from spirits of the departed, her father and grandfather among them, provide a fascinating glimpse into past spiritual practices.  

Cixous’s unique narrative style enhances the book’s enchanting quality, ensuring that readers are not only engaged by the content but also captivated by the beauty of the prose. Meanwhile, the reader falls under the spell of the author’s incomparable “mole speech,” the language in which poets communicate. 

A shotgun misfires inside the American Fur Company store in Northern Michigan, and Alexis St. Martin's death appears imminent. It's 1822, and, as the leaders of Mackinac Island examine St. Martin's shot-riddled torso, they decide not to incur a single expense on behalf of the indentured fur trapper. They even go so far as to dismiss the attention of U.S. Army Assistant Surgeon William Beaumont, the frontier fort's only doctor.

Beaumont ignores the orders and saves the young man's life. What neither the doctor nor his patient understands—yet—is that even as Beaumont's care of St. Martin continues for decades, the motives and merits of his attention are far from clear. In fact, for what he does to his patient, Beaumont will eventually stand trial and be judged.

Rooted deeply in historic fact, Open Wound artfully fictionalizes the complex, lifelong relationship between Beaumont and his illiterate French Canadian patient. The young trapper's injury never completely heals, leaving a hole into his stomach that the curious doctor uses as a window to understand the mysteries of digestion. Eager to rise up from his humble origins and self-conscious that his medical training occurred as an apprentice to a rural physician rather than at an elite university, Beaumont seizes the opportunity to experiment upon his patient's stomach in order to write a book that he hopes will establish his legitimacy and secure his prosperity. As Jason Karlawish portrays him, Beaumont, always growing hungrier for more wealth and more prestige, personifies the best and worst aspects of American ambition and power.

In settings familiar and foreign, from the shores of the Great Lakes to rural Ireland and Scotland, the boulevards of nineteenth-century Paris, and an ancient Italian hill town, John Smolens’s stories delineate our fears, doubts, and uncertainties, tempered by irony, humor, and tenacity. The collection’s title, Possession(s), suggests an overarching duality that connects these fourteen disparate narratives, which include stories first published in magazines such as the North American Review, the Madison Review, and the Southern Review. In “prose that is an understated marvel” (Publishers Weekly) and through a wide range of compelling voices, each story resonates with compassion and honesty, often turning on unexpected encounters with a stranger, a place, the past, and sometimes with oneself, offset by a recognition that the future holds few assurances other than the promise of mortality. In their search for love, reconciliation, and acceptance, the characters in Possession(s) strive to find understanding and peace.
 

A powerful testament to writing as an act of beauty and rebellion that speaks truth and condemns violent legacies and a feverish ode that weaves together personal and national history to finally find healing. 

This evocative novel from a great figure of Malagasy literature tells the story of Hira, a writer born on the seventh anniversary of Madagascar’s independence. He wanders through different cities on a book tour, but the experience is amnesiac and confusing. There is a past he is trying to reckon with, filled with violence against both his family and country. He runs from his wife and represses his memories until it all explodes in fever dreams and a vomit of words. But to write the rebirth that he yearns for, Hira must write of his father’s torture, his tortured island, and how both were juxtaposed to his own happy childhood. In combing through these various pasts, he might make the same mistake his father did: trying to change the world but leaving his own family broken.  

Drawing from the lived experience of both the author and his parents, the violence of both life and language, and the stories of both myth and history, Return is a search for an individual’s place within larger collective trauma. Infused with Raharimanana’s signature poeticism and intensity, this is a masterwork by an as-yet-overlooked but essential voice in the postcolonial tradition. 

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.