Her first novel is a vibrant and wistful narrative about an American girl abroad in Paris, who navigates the intoxicating and treacherous complexities of independence, friendship, and romance.Lita del Cielo, the daughter of two Colombian orphans who arrived in America with nothing and made a fortune with their Latin food empire, has been granted one year to pursue her studies in Paris before returning to work in the family business. She moves into a gently crumbling Left Bank mansion known as “The House of Stars,” where a spirited but bedridden Countess Séraphine rents out rooms to young women visiting Paris to work, study, and, unofficially, to find love.Cautious and guarded, Lita keeps a cool distance from the other girls, who seem at once boldly adult and impulsively naïve, who both intimidate and fascinate her. Then Lita meets Cato, and the contours of her world shift. Charming, enigmatic, and weak with illness, Cato is the son of a notorious right-wing politician. As Cato and Lita retreat to their own world, they soon find it difficult to keep the outside world from closing in on theirs. Ultimately Lita must decide whether to stay in France with Cato or return home to fulfill her immigrant family’s dreams for her future.It’s Not Love, It’s Just Paris is a spellbinding love story, a portrait of a Paris caught between old world grandeur and the international greenblood elite, and an exploration of one woman’s journey to distinguish honesty from artifice and lay claim to her own life.

    Chickamauga is also a virtuoso exploration of the power of concision in lyric poetry--a testament to the flexible music of the long line Wright has made his own. As a reviewer in Library Journal noted: "Wright is one of those rare and gifted poets who can turn thought into music. Following his self-prescribed regimen of purgatio, illuminato, and contemplatio, Wright spins one lovely lyric after another on such elemental subjects as sky, trees, birds, months, and seasons. But the real subject is the thinking process itself and the mysterious alchemy of language: 'The world is a language we never quite understand.'"

    Dukla, in fact, is a real place: a small resort town not far from where Stasiuk now lives. Taking an usual form—a short essay, a novella, and then a series of brief portraits of local people or events—this book, though bordering on the metaphysical, the mystical, even the supernatural, never loses sight of the particular time, and above all place, in which it is rooted. Andrzej Stasiuk is one of the leading writers of Poland’s younger generation, and is currently one of the most popular Polish novelists in English translation.

    But her quiet life is shattered when her husband, Kamal, is found brutally murdered with a hatchet in the courtyard of their home. Nearly catatonic with shock, Zeba is unable to account for her whereabouts at the time of his death. Her children swear their mother could not have committed such a heinous act. Kamal’s family is sure she did, and demands justice. Barely escaping a vengeful mob, Zeba is arrested and jailed.Awaiting trial, she meets a group of women whose own misfortunes have led them to these bleak cells: eighteen-year-old Nafisa, imprisoned to protect her from an “honor killing”; twenty-five-year-old Latifa, a teen runaway who stays because it is safe shelter; twenty-year-old Mezghan, pregnant and unmarried, waiting for a court order to force her lover’s hand. Is Zeba a cold-blooded killer, these young women wonder, or has she been imprisoned, like them, for breaking some social rule? For these women, the prison is both a haven and a punishment; removed from the harsh and unforgiving world outside, they form a lively and indelible sisterhood.Into this closed world comes Yusuf, Zeba’s Afghan-born, American-raised lawyer whose commitment to human rights and desire to help his homeland have brought him back. With the fate this seemingly ordinary housewife in his hands, Yusuf discovers that, like the Afghanistan itself, his client may not be at all what he imagines.A moving look at the lives of modern Afghan women, The House with No Windows is astonishing, frightening, and triumphant.

    Here are characters faced with dangerous decisions, children slick with oil from the river, a woman in love with another despite the penalties. Here is a world marked by electricity outages, lush landscapes, folktales, buses that break down and never start up again. Here is a portrait of Nigerians that is surprising, shocking, heartrending, loving, and across social strata, dealing in every kind of change. Here are stories filled with language to make your eyes pause and your throat catch. Happiness, Like Water introduces a true talent, a young writer with a beautiful heart and a capacious imagination.

    In a recent profile, The New York Times Magazine paid tribute to her amazing ability to combine the classical and the modern, the mundane and the surreal, in a body of work that is sure to endure.In Men in the Off Hours, Carson offers further proof of her tantalizing gifts. Reinventing figures as diverse as Oedipus, Emily Dickinson, and Audubon, Carson sets up startling juxtapositions: Lazarus among video paraphernalia, Virginia Woolf and Thucydides discussing war, Edward Hopper paintings illuminated by St. Augustine. And in a final prose poem, she meditates movingly on the recent death of her mother. With its quiet, acute spirituality and its fearless wit and sensuality, Men in the Off Hours shows us a fiercely individual poet at her best.

    While her work has earned her comparisons to Karen Russell and Kelly Link, she has a voice that is all her own. In this electric and provocative debut, Machado bends genre to shape startling narratives that map the realities of women's lives and the violence visited upon their bodies.A wife refuses her husband's entreaties to remove the green ribbon from around her neck. A woman recounts her sexual encounters as a plague slowly consumes humanity. A salesclerk in a mall makes a horrifying discovery within the seams of the store's prom dresses. One woman's surgery-induced weight loss results in an unwanted houseguest. And in the bravura novella Especially Heinous, Machado reimagines every episode of Law & Order: Special Victims Unit, a show we naively assumed had shown it all, generating a phantasmagoric police procedural full of doppelgangers, ghosts, and girls with bells for eyes.Earthy and otherworldly, antic and sexy, queer and caustic, comic and deadly serious, Her Body and Other Parties swings from horrific violence to the most exquisite sentiment. In their explosive originality, these stories enlarge the possibilities of contemporary fiction.The husband stitch --Inventory --Mothers --Especially heinous --Real women have bodies --Eight bites --The resident --Difficult at parties

    Simple, Simple to his fans, made weekly appearances beginning in 1943 in Langston Hughes' column in the Chicago Defender. Simple may have shared his readers feelings of loss and dispossession, but he also cheered them on with his wonderful wit and passion for life.

    Mugezi's hard-won observations form a cri de coeur for a people shaped by untold losses.

    A fascinating collection of six essays, written for the William Empson Lectures in Oxford, each exploring an aspect of writerly contemplation.

    Her world vision is intricately rendered in a full spectrum of color, unapologetically gorgeous and intensely bizarre.  With movie reviews, tips for her readers, laugh-out-loud lists and short pieces such as “Rumors I’ve Heard About Anna Wintour,” and “The Secret Lives of Chefs,”  Hanawalt’s comedy shines, making the quotidian silly and surreal, flatulent and facetious.

    As they move from a cramped, ant-infested shack to a larger house on the other side of Bangalore, and try to adjust to a new way of life, the family dynamic begins to shift. Allegiances realign; marriages are arranged and begin to falter; and conflict brews ominously in the background. Things become “ghachar ghochar”—a nonsense phrase uttered by one meaning something tangled beyond repair, a knot that can't be untied. Elegantly written and punctuated by moments of unexpected warmth and humor, Ghachar Ghochar is a quietly enthralling, deeply unsettling novel about the shifting meanings—and consequences—of financial gain in contemporary India.

    Now he gives birth to a cast of gruesomely sympathetic children – misunderstood outcasts who struggle to find love and belonging in their cruel, cruel worlds. His lovingly lurid illustrations evoke both the sweetness and the tragedy of these dark yet simple beings – hopeful, hapless heroes who appeal to the ugly outsider in all of us, and let us laugh at a world we have long left behind (mostly anyway).

    You hold in your hands an invitation to a place unlike any you’ve ever visited–an invitation delivered by one of our most audacious and astonishing literary magicians. City of elegance and squalor. Of religious fervor and wanton lusts. And everywhere, on the walls of courtyards and churches, an incandescent fungus of mysterious and ominous origin. In Ambergris, a would-be suitor discovers that a sunlit street can become a killing ground in the blink of an eye. An artist receives an invitation to a beheading–and finds himself enchanted. And a patient in a mental institution is convinced he’s made up a city called Ambergris, imagined its every last detail, and that he’s really from a place called Chicago.…By turns sensuous and terrifying, filled with exotica and eroticism, this interwoven collection of stories, histories, and “eyewitness” reports invokes a universe within a puzzlebox where you can lose–and find–yourself again.

    A Chinese American woman tells of the Chinese myths, family stories and events of her California childhood that have shaped her identity.