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The line between human and animal is thinner than you think.

In a striking first collection of stories, Cris Mazza brings a startling vision to the familiar terrain of intimate relationships. The eleven stories in Animal Acts describe characters navigating an unsteady course through the turbulence of sexial desire. Set in unmistakably American landscapes—from sprawling West Coast cities to the dry, dusty scrub of rural Southern California—the work is populated by gym teachers, aging flower children, secretaries and artists—most of them strong, willful women. 

The narrator of the title story holds the guests at a party spellbound with her fantastic retelling of another woman's perverse life—which may, in fact, be her own—thereby seducing a man who has previously eluded her. 

Mazza's arresting narrative structures and sharp sense of the absurd make for a dazzling debut collection.

The follow-up volume to Mazza and DeShell’s hugely popular Chick-Lit: Postfeminist Fiction
 
Chick-Lit 2: No Chick Vics features new work by Rikki Ducornet, Eurydice, Elizabeth Graver, Ursule Molinaro, and fourteen other witty and deadly serious writers.
 
Chick-Lit 2 discovers new and alternative voices in women’s fiction whose stories do not involve trauma that comes from the outside. As Mazza writes in her introduction, “Sexual assaults and harassments and injurious poor body images do exist and have waged a war on women (the American Medical Association says so). But for this book, I was interested in seeing what action(s) women characters can incite on their own, whether bad or good, hopeful or dead-end, progressive or destructive.”
 

A provocative critique of chick lit’s glossy narratives and their complex relationship with postfeminist ideals.

Chick-Lit: Postfeminist Fiction is the fourth volume in “On the Edge: New Women’s Fiction,” FC2’s ongoing effort to discover new and innovative voices in women’s fiction. Determined to contradict the myth that “women don't write experimental fiction,” Chick-Lit discovers women writers with a fresh and irreverent wit and honesty, but no less powerful in their rendering of human experience.

Chick-Lit collects the original fiction of newly discovered writers, but also the award winning work of notable writers like Carole Maso, Jonis Agee, Stacy Levinne and Carolyn Banks. Marked by innovations in form and point-of-view, the writers in this collection are not satisfied with the terrain commonly referred to as “women’s writing.” Insane asylum sex, board games that control people’s lives, a masochistic pedophile humiliated by his victim, an obese woman paying nickels and quarters for attention from teenage girls, a deranged hair stylist and her disloyal dog, a men's impotence therapy group, a surreal landscape constantly producing the body of a woman's mother: this is writing that shouts, yes, there is such a thing as postfeminist fiction.
 

Redefining strength, one truth at a time.

Told in a broken shorthand voice, Mazza's language is acute, evoking a place where the patients, the caregivers, and the system are all disabled. Teri and Cleo are minimum-wage nurse-aides at a state ward for severely retarded and physically handicapped children. They are expected to feed, bathe, clothe, and carry out the required therapies for their patients in a 4-hour shift. They're working within a system where money for therapy is only continued if therapy shows improvement--and yet the state-paid therapists who oversee the ward know the patients will never show any improvement. To keep the money coming in, it is up to the minimum-wage caregivers to "see" and chart important improvements, thus keeping the therapy program alive. 

Blinded in their own way by their pet-like adoption of favorite patients, Teri and Cleo struggle to remain both optimistic and realistic. As their personal failures mount--and even transpose or emulate the travesties within the state ward--Teri and Cleo, with their own unseen "disabilities" in dealing with their lives and pasts, react harshly to the breakdown in the emotional balancing act.

When innocence becomes history, desire rewrites the story.

In this collection of stories, critically acclaimed writer Cris Mazza shines a kleig light on the dark underside of relationships in a disturbing look at the ambiguous nature of our own desires. From women who foster their own abusive relationships, to failed suicide attempts, to furtive -- and horribly violent -- encounters in steamy basements, Mazza's stories cut to the heart of doomed human relationships, landing squarely in the murky territory between desire and despair, between freedom and loss of control.

Every shadow tells a story she’s not ready to share.

In her ninth work of fiction, Cris Mazza walks the fence between man and nature, instinct and compusion, all the while throwing rocks into the yawning gulch between the sexes. As a portrait of our species, Girl Beside Him is a powerful book.

As the novel unfolds, a moody naturalist obsessed with target shooting meets his pretty assistant, rebounding from her bitter divorce, via a classified ad. Brian and Leya work together in the Wyoming outback, a landscape quick with beauty, death and sex. Ostensibly they have joined forces to track wild cougar, but humanity is the most endangered species here.

As the story lopes along, the naturalists, made feral by heartbreak and the drone of pop culture, spend the summer tracking cougars.…

Taking Sartre's aphorism, hell is other people, to new, dreadful extremes, Mazza's varmits know that the only thing wrong with any landscape is who else is living in it. From deep inside her character's skins, Mazza brings a psychological awareness to her novel that would make Stephen King squirm.

Back in print with a preface by Allan Kornblum and a new introduction by Pamela Caughe.

Satire meets discomfort in a feminist reckoning.

These stories convey a powerful, convincing sense of the bewilderment and excitement of sexual desires. Mazza describes a world that resembles a shopping mall gone mad, populated by ordinary, normal people behaving in ways that mock the very concept of normality. By describing these lives with an acute sense of the absurd, Mazza produces a dark, sometimes hilarious comedy that undercuts the shaky compromise of the consensus we call reality.

A collection of stories by award-winning California writer Cris Mazza that reveal the open road to be not romanticized freedom but an unsettling loss of control.

While in many ways reaffirming the mythic dimension of being on the road romanticized in American pop and fold culture, Revelation Countdown also subtly undermines that view. These stories project onto the open road not the nirvana of personal freedom, but rather a type of freedom more closely resembling loss of control. Being in constant motion and passing through new environments destabilizes life, casts it out of phase, heightens perception, and skews reactions. Every little problem is magnified to overwhelming dimension. Events segue from slow motion to fast forward. Background noises intrude, causing perpetual wee hour insomnia. Imagination flourishes, often as an enemy. People suddenly discover that they never really understood their travel companions. The formerly stable line of their lives veers off course. In such an atmosphere, the title Revelation Countdown, borrowed from a roadside sign in Tennessee, proves prophetic. It may not arrive at 7:30, but revelation will inevitably find the traveler.