The stories may appear in the form of letters of complaint; they may be extracted from Flaubert’s correspondence; or they may be inspired by the author’s own dreams, or the dreams of friends.What does not vary throughout Can’t and Won’t, Lydia Davis’s fifth collection of stories, is the power of her finely honed prose. Davis is sharply observant; she is wry or witty or poignant. Above all, she is refreshing. Davis writes with bracing candor and sly humor about the quotidian, revealing the mysterious, the foreign, the alienating, and the pleasurable within the predictable patterns of daily life.

    Los Angeles liberals Delaney and Kyra Mossbacher lead an ordered sushi-and-recycling existence in a newly gated hilltop community: he a sensitive nature writer, she an obsessive realtor. Mexican illegals Cándido and América Rincón desperately cling to their vision of the American Dream as they fight off starvation in a makeshift camp deep in the ravine. And from the moment a freak accident brings Cándido and Delaney into intimate contact, these four and their opposing worlds gradually intersect in what becomes a tragicomedy of error and misunderstanding.

    Most memorable - and most chilling - is the portrait of the author's father, a maddened shopkeeper who imports rare birds' eggs to hatch in his attic, who believes tailors' dummies should be treated like people, and whose obsessive fear of cockroaches causes him to resemble one. Bruno Schulz, a Polish Jew killed by the Nazis in 1942, is considered by many to have been the leading Polish writer between the two world wars.Bruno Schulz's untimely death at the hands of a Nazi stands as one of the great losses to modern literature. During his lifetime, his work found little critical regard, but word of his remarkable talents gradually won him an international readership. This volume brings together his complete fiction, including three short stories and his final surviving work, Sanatorium Under the Sign of the Hourglass. Illustrated with Schulz's original drawings, this edition beautifully showcases the distinctive surrealist vision of one of the twentieth century's most gifted and influential writers.

    She tackles eros and intimacy with a deceptively light touch, a keen awareness of how their nervous systems tangle and sometimes short-circuit, and a genius for revealing our most vulnerable, spirited selves. In “Desert Hearts,” a woman takes a job selling sex toys in San Francisco rather than embark on the law career she pursued only for the sake of her father. In “Pearl and the Swiss Guy Fall in Love,” a woman realizes she much prefers the company of her pit bull—and herself—to the neurotic foreign fling who won’t decamp from her apartment. In “How Am I Supposed to Talk to You?” a daughter hauls a suitcase of lingerie to Mexico for her flighty, estranged mother to resell there, wondering whether her personal mission—to come out—is worth the same effort. And in “Barbara the Slut,” a young woman with an autistic brother, a Princeton acceptance letter, and a love of sex navigates her high school’s toxic, slut-shaming culture with open eyes. With heart, sass, and pitch-perfect characters, Barbara the Slut is a head-turning debut from a writer with a limitless career before her.

    Along the way she weathers unplanned losses of altitude, air pressure, and landing gear. With the help of a squad of loyal, funny, wise friends and massage therapists, she learns to sort truth from self-deception, self-involvement from self-possession.At last, having found a new partner “who loves Don DeLillo and the NHL” and a daughter “who needs you to teach her to dive and to laugh at herself”—not to mention two dogs and two horses—“staying home becomes more of an option. Maybe.”

    Olga Grushin is dealing with issues of women’s identity, of women’s choices, that no modern novel has explored so deeply. “Forty rooms” is a conceit: it proposes that a modern woman will inhabit forty rooms in her lifetime. They form her biography, from childhood to death. For our protagonist, the much-loved child of a late marriage, the first rooms she is aware of as she nears the age of five are those that make up her family’s Moscow apartment. We follow this child as she reaches adolescence, leaves home to study in America, and slowly discovers sexual happiness and love. But her hunger for adventure and her longing to be a great poet conspire to kill the affair. She seems to have made her choice. But one day she runs into a college classmate. He is sure of his path through life, and he is protective of her. (He is also a great cook.) They drift into an affair and marriage. What follows are the decades of births and deaths, the celebrations, material accumulations, and home comforts—until one day, her children grown and gone, her husband absent, she finds herself alone except for the ghosts of her youth, who have come back to haunt and even taunt her. Compelling and complex, Forty Rooms is also profoundly affecting, its ending shattering but true. We know that Mrs. Caldwell (for that is the only name by which we know her) has died. Was it a life well lived? Quite likely. Was it a life complete? Does such a life ever really exist? Life is, after all, full of trade-offs and choices. Who is to say her path was not well taken? It is this ambiguity that is at the heart of this provocative novel.

    But be it damned or hailed, Couples drew back the curtain forever on sex in suburbia in the late 20th century. A classic, it's one of those books that will be read & remembered for a long time to come.

    With the grit of Raymond Carver, the humor of Grace Paley, and a blend of wit and melancholy all her own, Berlin crafts miracles from the everyday, uncovering moments of grace in the laundromats and halfway houses of the American Southwest, in the homes of the Bay Area upper class, among switchboard operators and struggling mothers, hitchhikers and bad Christians. Readers will revel in this remarkable collection from a master of the form and wonder how they'd ever overlooked her in the first place.

    In an entirely fresh and unique voice, these stories reveal the humanity, compassion, humour, tragedy and redemption hidden behind the "blue wall."Anything You Say Can and Will Be Used Against You centres on the lives of five female police officers. Each woman's story–like each call in a police officer's day–varies in its unique drama, but all the tales illuminate the tenuous line between life and death, violence and control, despair and salvation. Because the stories come from the author's own experience, they open a curtain on the truth behind the job–how officers are trained to deal with the smell of death, how violence clings to a crime scene long after the crime is committed, how the police determine when to engage in or diffuse violence, why some people make it from the academy to the force and some don't, and all the friendships, romances, and dramas that happen along the way. It illuminates not only how officers feel while they are in uniform, holding their guns, but also what they feel after they go home and put those guns aside.

    Andre Dubus treats his characters--a bereaved father stalking his son's killer; a woman crying alone by her television late at night; a devout teenager writing in the coils of faith and sexuality; a father's story of limitless love for his daughter--with respect and compassion. He turns fiction into an act of witness.

    In another, the narrator feels compelled to promise to deliver a takeout order that has incorrectly been phoned in to her. In a third, the petty details of a property transaction illuminate the complicated pains and loves of a family.The tales in this groundbreaking collection are secretly in conversation with canonical stories, re-imagined from the perspective of female characters. Just as Wallace Stevens’s “Anecdote of the Jar” responds to John Keats’s “Ode on a Grecian Urn,” Galchen’s “The Lost Order” covertly recapitulates James Thurber’s “The Secret Life of Walter Mitty,” while “The Region of Unlikeness” is a smoky and playful mirror to Jorge Luis Borges’s “The Aleph.” The title story, “American Innovations,” revisits Nikolai Gogol’s “The Nose.”By turns realistic, fantastical, witty, and lyrical, these marvelously uneasy stories are deeply emotional and written in exuberant, pitch-perfect prose. Whether exploring the tensions in a mother-daughter relationship or the finer points of time travel, Galchen is a writer like none other today.

    Sonia, a deeply religious woman as well as a Jungian psychologist, has become the de facto leader of the kidnapped group. While her son Theo, an ex-Delta soldier, uses his military connections to find and free the victims, Sonia tries to keep them all alive by working her way into the kidnappers' psyches and interpreting their dreams. With her knowledge of their language, her familiarity with their religion, and her Jungian training, Sonia confounds her captors with her insights and beliefs. Meanwhile, when the kidnappers decide to kill their captives, one by one, in retaliation for perceived crimes against their country, Theo races against the clock to try and save their lives.

    Now comes a reissue of the best-selling debut novel that launched her remarkable career. St. Elizabeth's, a home for unwed mothers in Habit, Kentucky, usually harbors its residents for only a little while. Not so Rose Clinton, a beautiful, mysterious woman who comes to the home pregnant but not unwed, and stays. She plans to give up her child, thinking she cannot be the mother it needs. But when Cecilia is born, Rose makes a place for herself and her daughter amid St. Elizabeth's extended family of nuns and an ever-changing collection of pregnant teenage girls. Rose's past won't be kept away, though, even by St. Elizabeth's; she cannot remain untouched by what she has left behind, even as she cannot change who she has become in the leaving.

    Army Special Forces medic, nor Lisette, a foreign correspondent, has emerged from America's long post-9/11 wars in Iraq and Afghanistan unscathed. Yet war also exerts a terrible draw that neither can shake--the noble calling, the camaraderie, the life-and-death stakes. Where else in the world can such a person go? All roads lead to Colombia, where the US, with its patented fusion of intelligence dominance and quick-striking special operators, has partnered with local government to stamp out a vicious civil war and keep the predatory narco gangs at bay. Mason, now a liaison to the Colombian military, is ready for the good war, and Lisette is more than ready to cover it.For Juan Pablo, Mason's counterpart in the Colombian officer corps, translating reality into a language the Americans can understand requires a cartoonist's gift for caricature, but it's child's play next to the challenge of navigating the viper's nest of factions bidding for power, in the capital and far out in the field. And if Juan Pablo's view is dark, the outlook of Abel, a lieutenant in the militia Los Mil Jesuses, which controls territory in rural Norte de Santander, a region on the Venezuelan border where the writ of law scarcely runs, is positively Stygian. Abel has lost everything he loves in the carnage that for his entire life has flowed unceasingly in this region, where the lines between drug cartels, militias, and the state are semi-permeable. It is Abel's cruel fate to find safety only by serving a man he has come to fear and loathe.Missionaries is an astonishment, a novel of extraordinary suspense whose central, unsparing drama is infused by a geopolitical sophistication and a wisdom about the human heart that would be rare even in isolation. As Los Mil Jesuses make their move to fill a power vacuum in Norte de Santander, aided and abetted by the Colombian military for its own reasons, the Americans are made pawns of a game they don't even begin to understand. The result is an unfolding calamity that will leave no character unscathed, and will echo across the planet. A work whose accomplishment calls forth comparisons to Joseph Conrad, Graham Greene, and Robert Stone, Missionaries ultimately stands apart as its own electrifying new form of artistic reckoning with the forces we have unleashed in our world.

    Alex reluctantly assumes the helm of the company, but as he explores the plant’s vast floors and assembly lines, he comes to a grim realization: employees are exploited, regulatory systems are corrupt and Alex’s own father is engaging in bribes to protect the bottom line. When Alex meets a seamstress named Ivy, his sympathies begin to shift. She is an embedded organizer of a pro-democratic Chinese party, secretly sowing dissonance among her fellow laborers. Will Alex remain loyal to his father and his heritage? Or will the sparks of revolution ignite? Deftly plotted and vibrantly drawn, The Emperor of Shoes is a timely meditation on idealism, ambition, father-son rivalry and cultural revolution, set against a vivid backdrop of social and technological change.