In the tradition of Anton Chekhov and William Carlos Williams, he draws on his experiences in medicine to craft stories of great subtlety and striking insight. Rich in compassion but devoid of cheap sentiment, Osipov's fiction presents a nuanced, collage-like portrait of life in provincial Russia—its tragedies, its infinite frustrations, and its moments of humble beauty and inspiration. The twelve stories in this volume depict doctors, actors and actresses, screenwriters, teachers, entrepreneurs, local political bosses, and common criminals, whose paths intersect in unpredictable yet entirely natural ways: in sickrooms, classrooms, administrative offices, on trains, and in the air. Their encounters lead to disasters, major and minor epiphanies, and—on occasion—the promise of redemption. "Life is scary, whether you're in Moscow, St. Petersburg, or the provinces," Osipov's narrator tells us in "The Cry of the Domestic Fowl," which opens the collection. And yet, he concludes, "[t]he world doesn't break, no matter what you throw at it. That's just how it's built."

    A boy's summer romance doesn't end in that good kind of heartbreak, but in blood. A girl on a fishing trip makes a friend in the woods who's exactly what she needs, except then that friend follows her back to the city. A father hears a voice through his baby monitor that shouldn't be possible, but now he can't stop listening. A woman finds out that the shipwreck wasn't the disaster, but who she's shipwrecked with. A big brother learns just what he will, and won't, trade for one night of sleep. From prison guards making unholy alliances to snake-oil men in the Old West doling out justice, these stories carve down into the body of the mind, into our most base fears and certainties, and there's no anesthetic. Turn the light on if you want, but that just makes for more shadows.

    As John Banville writes in his introduction to The Love Object, Edna O'Brien "is, simply, one of the finest writers of our time." The thirty-one stories collected in this volume provide, among other things, a cumulative portrait of Ireland, seen from within and without. Coming of age, the impact of class, and familial and romantic love are the prevalent motifs, along with the instinct toward escape and subsequent nostalgia for home. Some of the stories are linked and some carry O'Brien's distinct sense of the comical. In "A Rose in the Heart of New York," the single-mindedness of love dramatically derails the relationship between a girl and her mother, while in "Sister Imelda" and "The Creature" the strong ties between teacher and student and mother and son are ultimately broken. "The Love Object" recounts a passionate affair between the narrator and her older lover. The magnificent, mid-career title story from Lantern Slides portrays a Dublin dinner party that takes on the lives and loves of all the guests. More recent stories include "Shovel Kings" -- "a masterpiece of compression, distilling the pain of a lost, exiled generation" (Sunday Times) -- and "Old Wounds," which follows the revival and demise of the friendship between two elderly cousins. In 2011, Edna O'Brien's gifts were acknowledged with the most prestigious international award for the story, the Frank O'Connor Short Story Award. The Love Object illustrates a career's worth of shimmering, potent prose from a writer of great courage, vision, and heart. "The most striking aspect of Edna O'Brien's short stories, aside from the consistent mastery with which they are executed, is their diversity."-John Banville

    Varying in length from just a sentence or paragraph to a several-page story or essay, Galchen’s puzzle pieces assemble into a shining, unpredictable, mordant picture of the ordinary-extraordinary nature of babies and literature. Anecdotal or analytic, each part opens up an odd and tender world of wonder. The 47 Ronin; the black magic of maternal love; babies morphing from pumas to chickens; the quasi-repellent concept of “women writers”; origami-ophilia in Oklahoma as a gateway drug to a lifelong obsession with Japan; discussions of favorite passages from the Heian masterpieces Genji and The Pillow Book; the frightening prevalence of orange as today’s new chic color for baby gifts; Frankenstein as a sort of baby; babies gold mines; babies as tiny Godzillas …Little Labors–atomized and exploratory, conceptually byzantine and freshly forthright–delights.

    The limitless scope of human emotion and experience are depicted in stories that give aching and eloquent voice to the terrible wounds we inflict on those closest to us. These are tales of loss and redemption; of shame and forgiveness; of love and abuse and the healing power of storytelling. A book that resonates with uncompromising candor and incandescence, Trash is sure to captivate Allison's legion of readers and win her a devoted new following.

    Faster and faster, to escape the assassins on his heels, our protagonist flies forward, blending into crowds, adjusting to terrains, hopping on and off ferries, always desperately trying to stay a step ahead of certain death: the past did not exist for him, only what was current existed, he was a prisoner of the instant, and he rushed into this instant, an instant that had no continuation, just as it had no earlier version, and he would have told himself—had he had time to think about this between two instants—that he had no need either for past or future for neither existed. But, in fact, he had no time between two instants. Since there’s no such thing as two instants.Krasznahorkai—celebrated for the exhilarating energy of his prose—outdoes himself in Chasing Homer, and has, moreover, envisioned the book as a collaborative enterprise, with a beautiful full-color painting by Max Neumann for each of its nineteen chapters to evoke our hero’s plight and--reaching out of the book proper--further propelling his flight by the wildly percussive music of Miklos Szilveszter, with a score for each chapter as well (to be accessed by the reader via QR codes printed in the book). Chasing Homer is a unique and incredibly swift tour of Laszlo’s world—a treat not to be missed.

    With the panoramic sweep of a Diego Rivera mural, the novel weaves together dozens of plot lines, perspectives, and characters. Blending a wealth of historical information and local detail with a profound understanding of the complex relationship between victim and tormentor, Castellanos captures the ambiguities that underlie all struggles for power.A masterpiece of contemporary Latin American fiction from Mexico's greatest twentieth-century woman writer, The Book of Lamentations was translated with an afterword by Ester Allen and introduction by Alma Guillermoprieto.

    In this brilliant translation by Matvei Yankelevich, English-language readers now have a comprehensive collection of the prose and poetry that secured Kharms s literary reputation a reputation that grew in Russia even as the Soviet establishment worked to suppress it.A master of formally inventive poetry and what today would be called micro-fiction, Kharms built off the legacy of Russian Futurist writers to create a uniquely deadpan style written out of and in spite of the absurdities of life in Stalinist Russia. Featuring the acclaimed novella The Old Woman and darkly humorous short prose sequence Events (Sluchai), Today I Wrote Nothing also includes dozens of short prose pieces, plays, and poems long admired in Russia, but never before available in English. A major contribution for American readers and students of Russian literature and an exciting discovery for fans of contemporary writers as eclectic as George Saunders, John Ashbery, and Martin McDonagh, Today I Wrote Nothing is an invaluable collection for readers of innovative writing everywhere.About the EditorMATVEI YANKELEVICH is also a co-translator of Oberiu: An Anthology of Russian Absurdism (2006). His translation of the Vladimir Mayakovsky's poem "Cloud in Pants" appears in Night Wraps the Sky: Writings by and About Mayakovsky. He is the author of a long poem, The Present Work, and his writing has appeared in Fence, Open City, and many other literary journals. He teaches Russian Literature at Hunter College in New York City and edits the Eastern European Poets Series at Ugly Duckling Press in Brooklyn.

    The characters in these stories are caught in a world of political hypocrisy, which ultimately leads to death, their common fate. Although the stories Kis tells are based on historical events, the beauty and precision of his prose elevates these ostensibly true stories into works of literary art that transcend the politics of their time.

    17 short stories and 8 poems by a Malaysian National Laureate, focusing more on his satirical, passionate and 'naughty' works.

    Winner of most of Japan’s top literary prizes for fiction, Kono Taeko writes with a disquieting and strange beauty, always foregrounding what Choice called "the great power of serious, indeed shocking events." In the title story, the protagonist loathes young girls, but she compulsively buys expensive clothes for little boys so that she can watch them dress and undress. The impersonal gaze Kono Taeko turns on this behavior transfixes the reader with a fatal question: What are we hunting for? And why? Now available in paperback for the first time, Toddler-Hunting Other Stories should fascinate any reader interested in Japanese literature––or in the growing world of transgressive fiction.

    He was one of the colonels closest to the Supreme Commander. When they meet, years later, far from their country of birth, a strange, equivocal relationship develops between them. Both their shared past of suffering and old romantic passions come rushing back accompanied by recollections of the perverse logic of violence that dominated the dicatorship under which they lived. The Man Who Snapped His Fingers is a novel of ideas, exploring power and memory by an important female writer from a part of the world where female voices are routinely silenced.

    A cycle of thirteen tenderly evocative stories written while Mu Xin was living in exile, this collection is reminiscent of the structural beauty of Hemingway’s In Our Time and the imagistic power of Kawabata’s palm-of-the-hand stories. From the ordinary (a bus accident) to the unusual (Buddhist halos) to the wise (Goethe, Lao Zi), Mu Xin’s wandering “I” interweaves plots with philosophical grace and spiritual profundity. A small blue bowl becomes a symbol of vanishing childhood; a painter in a race against fading memory scribblesnotes in an underground prison during the Cultural Revolution; an abandoned temple room holds a dark mystery. An Empty Room is a soul-stirring page turner, a Sebaldian reverie of passing time, loss, and humanity regained.

    Alone, except for harried undertakers, she buries her mother–the only family Adelaida has ever known.Numb with grief, Adelaida returns to the apartment they shared. Outside the window that she tapes shut every night—to prevent the tear gas raining down on protesters in the streets from seeping in. When looters masquerading as revolutionaries take over her apartment, Adelaida resists and is beaten up. It is the beginning of a fight for survival in a country that has disintegrated into violence and anarchy, where citizens are increasingly pitted against each other. But as fate would have it, Adelaida is given a gruesome choice that could secure her escape.Filled with riveting twists and turns, and told in a powerful, urgent voice, It Would Be Night in Caracas is a chilling reminder of how quickly the world we know can crumble.

    In this searing critique of Enlightenment values, fantastic themes are juxtaposed with brutal depictions of misogyny and violence, and frantically build to a fiery conclusion.Finally available to an English-speaking audience, Armonía Somers will resonate with readers of Clarice Lispector, Djuna Barnes, and Leonora Carrington.