His characters, almost all of who are first-generation Indian Americans, subvert our expectations that they will sit quietly by. We meet two brothers caught in an elaborate web of envy and loathing; a young gay man who becomes involved with an older man whose secret he could never guess; three women who almost gleefully throw off the pleasant agreeability society asks of them; and, in the final pair of linked stories, a young couple struggling against the devastating force of community gossip. If You See Me, Don't Say Hi examines the collisions of old world and new world, small town and big city, traditional beliefs (like arranged marriage) and modern rituals (like Facebook stalking). The men and women in these stories are full of passion, regret, envy, anger, and yearning. They fall in love with the wrong people and betray one another and deal with the accumulation of years of subtle racism. They are utterly compelling. Ranging across the country, Patel’s stories -- empathetic, provocative, twisting, and wryly funny -- introduce a bold new literary voice, one that feels more timely than ever.

    All of his prodigious gifts of language, character, and setting in these eleven exquisite stories transport the reader to an Ireland both timeless and recognizably modern. Shot through with dark humor and the uncanny power of the primal and unchanging Irish landscape, the stories in That Old Country Music represent some of the finest fiction being written today.

    Her characters are all unsteady on their feet in one way or another; they all yearn for connection and betterment, though each in very different ways, but they are often tripped up by their own baser impulses and existential insecurities. Homesick for Another World is a master class in the varieties of self-deception across the gamut of individuals representing the human condition. But part of the unique quality of her voice, the echt Moshfeghian experience, is the way the grotesque and the outrageous are infused with tenderness and compassion. Moshfegh is our Flannery O'Connor, and Homesick for Another World is her Everything That Rises Must Converge or A Good Man is Hard to Find. The flesh is weak; the timber is crooked; people are cruel to each other, and stupid, and hurtful. But beauty comes from strange sources, and the dark energy surging through these stories is powerfully invigorating. We're in the hands of an author with a big mind, a big heart, blazing chops, and a political acuity that is needle-sharp. The needle hits the vein before we even feel the prick.

    One is the main course of dinner, another the porn star contracted to copulate in space for a reality TV show. They become futuristic ant farms, get knocked up by the star high school quarterback and have secret abortions, use parakeets to reverse amputations, make love to garden gnomes, go into air conditioning ducts to confront their mother’s ghost, and do so in settings that range from Hell to the local white-supremacist bowling alley.

    A literary event of the highest order. Joy Williams has been celebrated as a master of the short story for four decades, her renown passing as a given from one generation to the next even in the shifting landscape of contemporary writing. And at long last the incredible scope of her singular achievement is put on display: thirty-three stories drawn from three much-lauded collections, and another thirteen appearing here for the first time in book form. Forty-six stories in all, far and away the most comprehensive volume in her long career, showcasing her crisp, elegant prose, her dark wit, and her uncanny ability to illuminate our world through characters and situations that feel at once peculiar and foreign and disturbingly familiar. Virtually all American writers have their favorite Joy Williams stories, as do many readers of all ages, and each one of them is available here.

    They stay with you like a significant memory.”—Roger Rosenblatt“Van Booy is a remarkable young writer. Taste, touch, smell, sight and sound, in spite of their evanescence, are frozen for a moment in these stories and celebrated, along with their subtle interconnection, in all the aspects of love.”—Fred VolkmerThe Secret Lives of People in Love is the first short story collection by award-winning writer Simon Van Booy. These stories, set in Kentucky, New York, Paris, Rome, and Greece, are a perfect synthesis of grace, intensity, atmosphere, and compassion. Love, loss, frailty, human contact, and isolation are Van Booy’s themes. In radiant prose he writes about the difficult choices we make in order to retain our humanity and about the redemptive power of love in a violent world.Born in London, Simon Van Booy grew up in Wales. A keen rugby player, he was recruited to play football for Campbellsville University in Kentucky. He eventually returned to England, where he graduated from Dartington College of Arts. Now a New Yorker, he teaches at the School of Visual Arts and in the Bard College Clemente Course. As a freelance journalist, he writes for several New York newspapers. He has won a first-place award for in-depth reporting from the New York Press Association.

    In eight tragi-comic stories, Einstein's Beach House: Stories features ordinary men and women rising to life's extraordinary challenges.

    In his first collection, North American Lake Monsters, Nathan Ballingrud carved out a distinctly singular place in American fiction with his “piercing and merciless” (Toronto Globe and Mail) portrayals of the monsters that haunt our lives—both real and imagined: “What Nathan Ballingrud does in North American Lake Monsters is to reinvigorate the horror tradition” (Los Angeles Review of Books). Now, in Wounds, Ballingrud follows up with an even more confounding, strange, and utterly entrancing collection of six stories, including one new novella. From the eerie dread descending upon a New Orleans dive bartender after a cell phone is left behind in a rollicking bar fight in “The Visible Filth” to the search for the map of hell in “The Butcher’s Table,” Ballingrud’s beautifully crafted stories are riveting in their quietly terrifying depictions of the murky line between the known and the unknown.

    In lyrical prose and singular dialect, a saga beats forward that echoes the fables carried down for generations—like the screecher birds who swoop down for their periodic sacrifice, and the water women who lure men to wet deaths.Among its residents—wildly spanning decades, perspectives, and species—are David Sherman, a struggling musician who just happens to be God’s last son; Tyrone, a ruthless PhD candidate, whose dissertation about a childhood game ignites mayhem in the neighboring, once-segregated town of Port Yooga; and Jim, an all-too-obedient robot who serves his Master. As the book builds to its finish with Special Topics in Loneliness Studies, a fully-realized novella, two unhinged professors grapple with hugely different ambitions, and the reader comes to appreciate the intricacy of the world Scott has created—one where fantasy and reality are eternally at war.

    In Moral Disorder she has created a series of interconnected stories that trace the course of a life and also the lives intertwined with it--those of parents, of siblings, of children, of friends, of enemies, of teachers, and even of animals. As in a photograph album, time is measured in sharp, clearly observed moments. The '30s, the '40s, the '50s, the '60s, the '70s, the '80s, the '90s, and the present --all are here. The settings vary: large cities, suburbs, farms, northern forests. The first story, "The Bad News," is set in the present, as a couple no longer young situate themselves in a larger world no longer safe. The narrative then switches time as the central character moves through childhood and adolescence in "The Art of Cooking and Serving," "The Headless Horseman," and "My Last Duchess." We follow her into young adulthood in "The Other Place" and then through a complex relationship, traced in four of the stories: "Monopoly," "Moral Disorder," "White Horse," and "The Entities." The last two stories, "The Labrador Fiasco" and "The Boys at the Lab," deal with the heartbreaking old age of parents but circle back again to childhood, to complete the cycle. By turns funny, lyrical, incisive, tragic, earthy, shocking, and deeply personal, Moral Disorder displays Atwood's celebrated storytelling gifts and unmistakable style to their best advantage. As the New York Times has said: "The reader has the sense that Atwood has complete access to her people's emotional histories, complete understanding of their hearts and imaginations."

    Laced through with the humor, the empathy, and the rare and magical descriptive powers that have led Elizabeth McCracken’s fiction to be hailed as “exquisite” (The New York Times Book Review), “funny and heartbreaking” (The Boston Globe), and “a true marvel” (San Francisco Chronicle), these nine vibrant stories navigate the fragile space between love and loneliness. In “Property,” selected by Geraldine Brooks for The Best American Short Stories, a young scholar, grieving the sudden death of his wife, decides to refurbish the Maine rental house they were to share together by removing his landlord’s possessions. In “Peter Elroy: A Documentary by Ian Casey,” the household of a successful filmmaker is visited years later by his famous first subject, whose trust he betrayed. In “The Lost & Found Department of Greater Boston,” the manager of a grocery store becomes fixated on the famous case of a missing local woman, and on the fate of the teenage son she left behind. And in the unforgettable title story, a family makes a quixotic decision to flee to Paris for a summer, only to find their lives altered in an unimaginable way by their teenage daughter’s risky behavior.   In Elizabeth McCracken’s universe, heartache is always interwoven with strange, charmed moments of joy—an unexpected conversation with small children, the gift of a parrot with a bad French accent—that remind us of the wonder and mystery of being alive. Thunderstruck & Other Stories shows this inimitable writer working at the full height of her powers.

    In one story, a Jewish college Sarah passively consents to a form-life in pursuit of an MRS degree and is swept into a culture of normalized sexual violence. Another reveals a version of Sarah finding pleasure—and a new set of problems—by playing dead for a wealthy necrophiliac. A Buffy-loving Sarah uses fan fiction to work through romantic obsession. As the collection progresses, Cohen explodes this search for self, insisting that we have more to resist and repair than our own personal narratives. Readers witness as the ever-evolving "Sarah" gets recast: as a bible-era trans woman, an aging lesbian literally growing roots, a being who transcends the earth as we know it. While Cohen presents a world that will clearly someday end, "Sarah" will continue.In each Sarah's refusal to adhere to a single narrative, she potentially builds a better home for us all, a place to live that demands no fixity of self, no plague of consumerism, no bodily compromise, a place called Sarahland.

    The stories in Thomas Pierce’s Hall of Small Mammals take place at the confluence of the commonplace and the cosmic, the intimate and the infinite. A fossil-hunter, a comedian, a hot- air balloon pilot, parents and children, believers and nonbelievers, the people in these stories are struggling to understand the absurdity and the magnitude of what it means to exist in a family, to exist in the world. In “Shirley Temple Three,” a mother must shoulder her son’s burden—a cloned and resurrected wooly mammoth who wreaks havoc on her house, sanity, and faith. In “The Real Alan Gass,” a physicist in search of a mysterious particle called the “daisy” spends her days with her boyfriend, Walker, and her nights with the husband who only exists in the world of her dreams, Alan Gass.  Like the daisy particle itself—“forever locked in a curious state of existence and nonexistence, sliding back and forth between the two”—the stories in Thomas Pierce’s Hall of Small Mammals are exquisite, mysterious, and inextricably connected. From this enchanting primordial soup, Pierce’s voice emerges—a distinct and charming testament of the New South, melding contemporary concerns with their prehistoric roots to create a hilarious, deeply moving symphony of stories.

    Broken bowls, belligerent cows, swanky aubergines, trembling moonrises and horrifying sunsets, the physical world depicted in these stories is unsettling yet intimately familiar and soon takes on a life of its own. Captivated by the stellar charms of seclusion but restless with desire, the woman’s relationship with her surroundings becomes boundless and increasingly bewildering. Claire-Louise Bennett’s startlingly original first collection slips effortlessly between worlds and is by turns darkly funny and deeply moving.

    Lavery comes a collection of darkly mischievous stories based on classic fairy tales. Adapted from his beloved "Children's Stories Made Horrific" series, The Merry Spinster takes up the trademark wit that endeared Lavery to readers of both The Toast and his best-selling debut Texts from Jane Eyre. The feature become among the most popular on the site, with each entry bringing in tens of thousands of views, as the stories proved a perfect vehicle for Lavery’s eye for deconstruction and destabilization. Sinister and inviting, familiar and alien all at the same time, The Merry Spinster updates traditional children's stories and fairy tales with elements of psychological horror, emotional clarity, and a keen sense of feminist mischief.Readers of The Toast will instantly recognize Lavery's boisterous good humor and uber-nerd swagger: those new to Lavery's oeuvre will delight in his unique spin on fiction, where something a bit mischievous and unsettling is always at work just beneath the surface.Unfalteringly faithful to its beloved source material, The Merry Spinster also illuminates the unsuspected, and frequently, alarming emotional complexities at play in the stories we tell ourselves, and each other, as we tuck ourselves in for the night.Bedtime will never be the same.The daughter cells --The thankless child --Fear not: an incident log --The six boy-coffins --The rabbit --The merry spinster --The wedding party --Some of us had been threatening our friend Mr.Toad --Cast your bread upon the waters --The frog's princess --Good fences make good neighbors