In AM/PM, impish humor and cutting insight are on full display. Readers tour the lives of 23 characters across 120 stories full of lizard tails, Schrödinger boxes, and volcano love. June wakes up one morning covered in seeds; Leonard falls in love with a chaise lounge; Betty insists everything except flowers are a symbol of her love for her husband; Andrew talks to his house in times of crisis. Written every morning and night for two months, these brief vignettes (50 to 100 words) recall Donald Barthelme in their whimsy and subtle yet powerful emotions. An intermittent love story as seen through a darkly comic lens, AM/PM mixes poetry and prose, humor and hubris to create a truly original work of fiction.

    The evacuation of Dunkirk proves that the British can rise to a challenge, even against seemingly insurmountable odds. But now the soldiers walk the streets of Dover, even wandering through Woolworths store, and take weary turns on the town's skating rink. Life, despite the threat of invasion and the reality of bombing, must go on and people must take comfort where they find it. Toby Hendry, a fighter pilot, is awaiting orders when he meets Giselle, a young Frenchwoman who took the chance to flee occupied France with the English troops. Their love affair feels like a summer idyll, but can it withstand the forces of war? Meanwhile, reserve naval commander Paul Instow has been called up to fight in a war for which he feels too old. Distracting him from his worries is Molly, a young Dover prostitute. Their relationship is tender and happy, but is this a love born from desperation or could it be something more permanent? And then there are Harold, Spots and Boot, three boys desperate to fight the German invaders, armed only with catapults and a stolen Bren gun... In Dover Beach Thomas chronicles the lives and loves of ordinary people in besiged Britain during these tense, but curiously elated days.

    In this tapestry of poetic and religious scholarship, Graves explores the stories behind the earliest of European deities—the White Goddess of Birth, Love, and Death—who was worshipped under countless titles. He also uncovers the obscure and mysterious power of "pure poetry" and its peculiar and mythic language.

    The wonderful writings in Thalia Field's long-awaited new book Point and Line deny categorization, they are "nicheless." Perhaps describable as "epic poetries," these riveting pieces represent a confluence of genres in which Thalia Field has been involved over the course of her career: fiction, theater, and poetry. Written from a constructivist, post-genre sensibility, they elude classification, and present the author's concern with clarity in a world that resists it. For instance, in "Hours" and "Setting, the Table," Field uses indeterminate performance techniques to emphasize the categorical/conceptual nature of thought. Other pieces use generative schemes, portraits of mental shapes, which create meaning out of noise. Visually, each chapter is captivating, showing the author's need for shapes and colors in her work, her fascination with the contours of speech.

    Her work as a translator draws her into an underworld of family-controlled drug cartels operating out of South America, and she falls in love with a son in one such family. Pregnant, she is kidnapped to an island off the coast of Colombia and slowly tricked into a dependence on cocaine. Her narrative - violent and bizarre, but also riveting, erotic and filled with the heady flamboyance of orchids - runs parallel to her account of life in "Death Clinic," as Death Row is called at the Heaven Valley Facility for Women. It is a moving story of friendship amongst three female inmates - portrayed with devastating wit - who share only the fact that they each have a date with the executioner.Cargo of Orchids swings through comedy and tragedy to shed a gradual, eerie light on the questions of guilt and innocence and moral ambiguity that lie at its heart.Excerpt from Cargo of Orchids:"Despite the freight of anger she carries, Rainy seems so frail it is hard to imagine her giving birth to anything heavier than tears. Rainy gave birth to twins and six months later left them on the railway tracks. She claims it prejudiced the jury. If she'd smothered them or driven them off a pier, it would have been more socially acceptable.-- But abandoning your kids on the tracks wasn't in fashion. She wishes now she'd gone out drinking for the evening instead, but she didn't have enough money to hire a babysitter and pay for the beer."

    These are stories that passed down through the ages virtually unaltered in their telling. To those who told and listened to them, they expressed something fundamental about Irish culture and the Irish way of life. The stories in this volume feature a wide variety of fantastic beings, including ghosts, witches, fairies, and changelings, but several feature creatures that are virtually exclusive to Ireland: the banshee, the merrow, the pooka, and the leprechaun. Read these tales of frightening supernatural horrors, brave folk heroes, and everyday people clever enough to outwith the devil, and you'll agree that they could only take place on Irish soil.

    The human and humanoid crew members complain about their daily tasks in a series of staff reports and memos. When the ship takes on a number of strange objects from the planet New Discovery, the crew becomes strangely and deeply attached to them, even as tensions boil toward mutiny, especially among the humanoids.Olga Ravn’s prose is chilling, crackling, exhilarating, and foreboding. The Employees probes into what makes us human, while delivering a hilariously stinging critique of life governed by the logic of productivity.

    Heavy Words Lightly Thrown provides a fascinating history lesson, teases out some alarming Freudian interpretations, and makes astonishing connections to contemporary popular culture. Striking and spooky silhouettes of nursery rhyme characters accompany the rhymes. You’ll never see Mother Goose in the same way again. BACKCOVER:

    While the bricks with which Chinquee constructs her fictions - failed or failing relationships, childhood friendships, and the intricacies of family life - are not uncommon, the architecture she creates with them is rare indeed: stories now full of light, now somber, now opening the reader's eyes to an utterly new space.

    * 'Direct, unpretentious, humorous' SUNDAY TIMES

    A literature professor marries his prize student, a woman forty years his junior, and at her request he takes her to the sea for their honeymoon. He is embarked on his life’s work, a book about enchantment-narratives in literature, most all of them involving strange girls and women, but soon finds himself distracted by his own enchantment for his new white-haired young wife.They travel to the Orkney Islands, the ancient Mesolithic and Neolithic site north of the Scottish coast, “the Seal Islands,” a barren place of extraordinary beauty. And as the days of their honeymoon pass his desire and his constant, yearning contemplation become his normality. His mysterious bride becomes his entire universe.He is consumed.

    Louis. Reminiscent of Jean Toomer's Cane, the book is in part a meditation on African-American autobiography. Keene explores questions of identity from many angles - from race to social class to sexuality (gay and straight). Employing all manner of textual play and rhythmic and rhetorical maneuvers, he (re)creates his life story as a jazz fugue-in-words.

    And images of a fantastic idyll complete with falling stars, the sound of the sea, and beautiful countryside. In the hands of Surrealists, though, love poetry also includes gravediggers and murderers, dice and garbage, snakeskin purses and "the drunken kisses of cyclones." Surrealism, the movement founded in the 1920s on the ashes of Dada's nihilism, embraced absurdity, contradiction, and, to a supreme extent, passion and desire. From André Breton's battle cry of "Mad Love" to the quiet lyricism of Robert Desnos, Surrealist writers and artists obsessively expressed the permutations of that fundamental human state, love, and they did so with the vocabulary of natural and unnatural worlds, the explicit language of sex, and a great deal of humor.Surrealist Love Poems brings together sixty poems by Surrealists who charged their work with all forms of eroticism. Expertly and energetically edited by Mary Ann Caws, this collection seeks to demonstrate the truth of Breton's words, that "the embrace of poetry like that of bodies / As long as it lasts / Shuts out all the woes of the world.""Erotic, impassioned and necrophilic, the sixty works gathered in Surrealist Love Poems celebrate the idea of obsessive and transformative love. 'I want to sleep with you side by side. . . . Stretched out on your shadow / Hammered by your tongue / To die in a rabbit's rotting teeth / Happy' writes Joyce Mansour. . . . Caws places poems by major surrealist writers like André Breton and Paul Eluard, along with the poetry of Picasso, Dalí, and Frida Kahlo, side by side with fourteen lushly printed and alluring black-and-white photos by the likes of Man Ray, Lee Miller, and Claude Cahun."—Publishers Weekly

    The result is a kind of everyday fantastic. Dalton nails the Walserian trick of evincing a sincerity nearly indistinguishable from irony. The effect is a poised instability, more uncanny than the magic the stories sometimes describe."-Bookforum"Dalton handles her narratives with a deft skill and a keen, distinct, confident voice that never eases up, never ceases to surprise, leaving readers happy to experience her intriguing world up close. Just the way we like it."-Brooklyn Rail"[The stories] feel like brilliant sexual fairy tales on drugs. Dalton writes of self-discovery and sex with a knowing humility and humor."-Interview Magazine"'Pura Vida,' about an emotionally unavailable journalist on assignment to cover a sloth clinic in Costa Rica, is a standout, its final moment between woman and sloth arriving with breathtaking lightness, like the first flower of spring. Other memorable outings include trips to the Missouri Ozarks ("Wet Look"), the Alps ("Shrub of Emotion"), and the Painted Desert ("Baby Geisha"), with men and women on the verge of, but never quite reaching, psycho-sexual breakthroughs."-Los Angeles Magazine Critic's Pick"[Baby Geisha] pokes fun, it's satirical, there's an underlying delicious irony to it, and the telling parts are the ones where Dalton coins names, cuts down trees with her paragraphs, gives us just a touch of the absurd... Dalton's skill as a writer, and above all her expertise in choosing words that play into a darker cultural picture--an offsetting of America's natural high!--are not to be missed here."-FanzineBaby Geisha is a collection of thirteen sexually-charged stories that roam from the Coney Island Ferris wheel to the Greek Isles.True to Trinie Dalton's form, the stories in Baby Geisha are distinctly imagined while also representing a more grounded approach in the author's style. There's the Joan Didion-obsessed starving journalist of "Pura Vida," struggling to maintain a relationship with her performance artist sisters (or anyone, for that matter), on assignment in Costa Rica to write an article on sloth-hugging. "Millennium Chill" is about a woman who discovers that her body heat is mysteriously linked to that of an elderly beggar.Baby Geisha serves to support Dalton's reputation as a remarkable stylist and a very original artist.

    This collection contains lyrical tales, bloody tales and hilariously funny and ripely bawdy stories from countries all around the world - from the Arctic to Asia - and no dippy princesses or soppy fairies. Instead, we have pretty maids and old crones; crafty women and bad girls; enchantresses and midwives; rascal aunts and odd sisters.