Even though I do not know you…The correspondence between Carrie Allsop and David Mayer reveals, piece by piece, the painful details of a devastating affair between their spouses. With each commiserating scratch of the pen, they confess their fears and bare their souls. They share the bewilderment over how things went so wrong and come to wonder where to go from here.Told entirely through the letters of two comforting strangers and those of two illicit lovers, Evidence of the Affair explores the complex nature of the heart. And ultimately, for one woman, how liberating it can be when it’s broken.

    Her novels and short stories speak to women and men about their most intense relationships and heartfelt feelings.In this collection of five short stories and a novella, Ms. Godwin is at her best. In the title novella, "Mr. Bedford," a young would-be writer spends time in England under the strange and watchful eye of a rather unusual elderly couple; in "Amanuensis," a charming college student cares for a famous but blocked novelist, with unpredictable results; and in "The Angry Year," a rebellious student is drawn to two different kinds of men until she discovers what she has been running to and from.

    Roller dexter of eligible friends rattling thin. Thirties breathing down her neck like an inappropriate uncle. She jogs. Looks good in turquoise. Finds herself punctuating gas “better out than in!” patting her stomach like a department store Santa. This is who I am, she thinks.The women in Lara Williams’ debut story collection, A Selfie as Big as the Ritz, navigate the tumultuous interval between early twenties and middle age. In the title story, a relationship implodes against the romantic backdrop of Paris. In “One of Those Life Things,” a young woman struggles to say the right thing at her best friend’s abortion. In “Penguins,” a girlfriend tries to accept her boyfriend’s bizarre sexual fantasy. In “Treats,” a single woman comes to terms with her loneliness. As Williams’ characters attempt to lean in, fall in love, hold together a family, fend off loneliness, and build a meaningful life, we see them alternating between expectation and resignation, giddiness and melancholy, the rollercoaster we all find ourselves on.

    The results range from the heavenly to the monstrous. Deeply thoughtful, poignant, horrifying, and action-packed, Arwen Elys Dayton's Stronger, Faster, and More Beautiful is groundbreaking in both form and substance.

    A once-popular singer, desperate to make a comeback, turning from the one certainty in his life . . . A man whose unerring taste in music is the only thing his closest friends value in him . . . A struggling singer-songwriter unwittingly involved in the failing marriage of a couple he’s only just met . . . A gifted, underappreciated jazz musician who lets himself believe that plastic surgery will help his career . . . A young cellist whose tutor promises to “unwrap” his talent . . . Passion or necessity—or the often uneasy combination of the two—determines the place of music in each of these lives. And, in one way or another, music delivers each of them to a moment of reckoning: sometimes comic, sometimes tragic, sometimes just eluding their grasp. An exploration of love, need, and the ineluctable force of the past, Nocturnes reveals these individuals to us with extraordinary precision and subtlety, and with the arresting psychological and emotional detail that has marked all of Kazuo Ishiguro’s acclaimed works of fiction.

    It follows the groundbreaking, highly acclaimed Jesus’ Son. Written in the same luminous prose, this collection finds Johnson in new territory, contemplating old age, mortality, the ghosts of the past, and the elusive and unexpected ways the mysteries of the universe assert themselves. Finished shortly before Johnson’s death in May 2017, this collection is the last word from a writer whose work will live on for many years to come.

    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.

    A bookseller's unspoken love for his employee rises to the surface, a neglected teenage boy finds much-needed nurturing from an unlikely pair of college students hired to housesit, a girl's loss of innocence at the hands of her employer's son becomes a catalyst for strength and confidence, and a proud nonagenarian rages helplessly in his granddaughter's hospital room. Romantic, hopeful, brutally raw, and unsparingly honest, some even slipping into the surreal, these stories are, above all, about King's enduring subject of love.

    M. Homes as one of the most provocative and daring writers of her generation. Here you'll find the cult classic A Real Doll, the tale of a teenage boy's erotic obsession with his sister's favorite doll; Adults Alone, which first introduced Paul and Elaine, the crack-smoking yuppie couple whose marriage careens out of control in Homes's novel Music for Torching; and Looking for Johnny, in which a kidnapped boy, having failed his abductor's expectations, is returned home. Brilliantly conceived, sharply etched, and exceptionally satisfying, these stories explore the American dream in ways you're not likely soon to forget. Working in Kodacolor hues, Homes offers an uncanny picture of a surreal suburbia-outrageous and utterly believable.

    Taken together, Hazzard's short stories are masterworks in telescoping focus, "at once surgical and symphonic" (The New Yorker), ranging from quotidian struggles between beauty and pragmatism to satirical sendups of international bureaucracy, from the Italian countryside to suburban Connecticut.In an interview, Hazzard once said, "The idea that somebody has expressed something, in a supreme way, that it can be expressed; this is, I think, an enormous feature of literature." Her stories themselves are a supreme evocation of writing at its very best: probing, uncompromising, and deeply felt.

    There is only grey ash and melted metal, the blackened husks of cars.And the lost people: in temporary accommodation on the outskirts of the city, on the TV news in borrowed clothes, or remembered in flyers on a cafe wall.A Constant Hum grapples with the aftermath of disaster with an eye for telling detail. Some of these stories cut to the bone; others are empathetic stories of survival, even hope.All are gripping and beautifully written, heralding the arrival of an important new voice in literary fiction.

    All women either with impossible or tragically lost loves face solitude at some time in their lives. This anthology presents unforgettable stories that portray a psychological state and a peculiar way of life to which women end up getting used to. This anthology contains stories by Flaubert, O'Connor, Chejov, Cheever, Maupassant, Clarice Lispector, Oscar Wilde and Carlos Fuentes among others.

    Failed entrepreneur Stanton Finch moves his family from Adelaide to the remote Coorong area of Southern Australia, in pursuit of his dream to become a farmer.Housed in a driftwood cabin, they try to make the best of their situation. The children roam the beautiful landscape of Salt Creek; visitors are rare but warmly welcomed; a local Indigenous boy becomes almost part of the family. Yet there are daily hardships, and tensions with the Ngarrindjeri people they have displaced; disaster never seems far away.With Mrs Finch struggling to cope, Hester, their perceptive eldest daughter, willingly takes on more responsibility. But as Hester’s sense of duty grows, so does a yearning to escape Salt Creek and make a new life of her own …Lucy Treloar was born in Malaysia and educated in Melbourne, England, and Sweden. Awards for her writing include the 2014 Commonwealth Short Story Prize. Salt Creek is her first novel.

    "Grand Stand-In" is narrated by an employee of a Nuclear Family Supplemental Provider—a company that supplies "stand-ins" for families with deceased, ill, or just plain mean grandparents. And in "Blowing Up On the Spot," a young woman works sorting tiles at a Scrabble factory after her parents have spontaneously combusted.Southern gothic at its best, laced with humor and pathos, these wonderfully inventive stories explore the relationship between loss and death and the many ways we try to cope with both.

    After the end of a decade-long relationship, Noni decides it's time for that to change. She's finally going to prioritize her wants and desires and only do things (and people) that feel good in the moment.As she embarks on a pleasure-seeking quest that takes her halfway around the world, she discovers that maybe she can have everything, and everyone, she's ever wanted.Effortlessly hilarious and relatable, Claire Christian spins a fresh, feel-good tale about starting over as a thirtysomething woman who's been living life for everyone else. A story of self-discovery for the ages, Noni's journey serves as a sparkling reminder that life is what we make of it—so why not enjoy it?