These pieces illustrate how our possessions act as proxies for ourselves, and how tussles over ownership articulate the power dynamics of our relationships. In Lionel Shriver’s world, we may possess people and objects and places, but in turn they possess us.In the stunning novella "The Standing Chandelier," a woman with a history of attracting other women’s antagonism creates a deeply personal wedding present for her best friend and his fiancée—only to discover that the jealous fiancée wants to cut her out of their lives. In "Domestic Terrorism," a thirty-something son refuses to leave home, resulting in a standoff that renders him a millennial cause célèbre. In "The ChapStick," a middle-aged man subjugated by service to his elderly father discovers that the last place you should finally assert yourself is airport security. In "Vermin," an artistic Brooklyn couple’s purchase of a ramshackle house destroys their once-passionate relationship. In "The Subletter," two women, both foreign conflict junkies, fight over a claim to a territory that doesn’t belong to either.Exhibiting a satisfying thematic unity unusual for a collection, this masterful work showcases the biting insight that has made Shriver one of the most acclaimed writers of our time.

    Now they are on the brink of the inevitable.Sally Rooney is one of the most acclaimed young talents of recent years. With her minute attention to the power dynamics in everyday speech, she builds up sexual tension and throws a deceptively low-key glance at love and death.

    She takes us down Kentucky roads in the back of a pickup truck to both truculent and delicate women and rough, rambling men edged with gentleness. A finalist for the Flannery O’Connor Short Fiction Award and the Iowa Short Fiction Award, this collection is a ravishing war of characters laid bare as they look for the glow and fight to stay in the light. As affecting as they are sexy and romantic, these stories burn with sweetness like firecrackers and honey as you throw them back and holler for another round.

    The best bones weren’t on trails—deer and moose don’t die conveniently—and soon I was wandering so far into the woods that I needed a map and compass to find my way home. When winter came and snow blew into the mountains, burying the bones, I continued to spend my days and often my nights in the woods. I vaguely understood that I was doing this because I could no longer think; I found relief in walking up hills. When the night temperatures dropped below zero, I felt visited by necessity, a baseline purpose, and I walked for miles, my only objective to remain upright, keep moving, preserve warmth. When I was lost, I told myself stories . . .”So Charles D’Ambrosio recounted his life in Philipsburg, Montana, the genesis of the brilliant stories collected here, six of which originally appeared in The New Yorker. Each of these eight burnished, terrifying, masterfully crafted stories is set against a landscape that is both deeply American and unmistakably universal. A son confronts his father’s madness and his own hunger for connection on a misguided hike in the Pacific Northwest. A screenwriter fights for his sanity in the bleak corridors of a Manhattan psych ward while lusting after a ballerina who sets herself ablaze. A Thanksgiving hunting trip in Northern Michigan becomes the scene of a haunting reckoning with marital infidelity and desperation. And in the magnificent title story, carpenters building sets for a porn movie drift dreamily beneath a surface of sexual tension toward a racial violence they will never fully comprehend. Taking place in remote cabins, asylums, Indian reservations, the backloads of Iowa and the streets of Seattle, this collection of stories, as muscular and challenging as the best novels, is about people who have been orphaned, who have lost connection, and who have exhausted the ability to generate meaning in their lives. Yet in the midst of lacerating difficulty, the sensibility at work in these fictions boldly insists on the enduring power of love. D’Ambrosio conjures a world that is fearfully inhospitable, darkly humorous, and touched by glory; here are characters, tested by every kind of failure, who struggle to remain human, whose lives have been sharpened rather than numbed by adversity, whose apprehension of truth and beauty has been deepened rather than defeated by their troubles. Many writers speak of the abyss. Charles D’Ambrosio writes as if he is inside of it, gazing upward, and the gaze itself is redemptive, a great yearning ache, poignant and wondrous, equal parts grit and grace.The high divide --Drummond & son --Screenwriter --Up north --The scheme of things --The dead fish museum --Blessing --The bone game

     In Magical Mr. Goat, a young girl's imaginary friend yearns to become "more than friends." In Unprotected, an unused prophylactic recalls his years spent trapped inside a teen boy's wallet. The stories in Simon Rich's new book are bizarre, funny, and yet...relatable. Rich explores love's many complications-losing it, finding it, breaking it, and making it-and turns the ordinary into the absurd. With razor-sharp humor and illustrations, and just in time for Valentine's Day, Rich takes readers for an exhilarating, hilarious ride on the rollercoaster of love.

    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.

     In the hilarious, lacerating “I Can Say Many Nice Things,” a washed-up writer toying with infidelity leads a creative writing workshop on board a cruise ship. In the dystopian “Rollingwood,” a divorced father struggles to take care of his ill infant, as his ex-wife and colleagues try to render him irrelevant. In “Watching Mysteries with My Mother,” a son meditates on his mother’s mortality, hoping to stave off her death for as long as he sits by her side. And in the title story, told in a single breathtaking sentence, we watch as the narrator’s marriage and his sanity unravel, drawing him to the brink of suicide. As the collection progresses, we move from more traditional narratives into the experimental work that has made Ben Marcus a groundbreaking master of the short form. In these otherworldly landscapes, characters resort to extreme survival strategies to navigate the terrors of adulthood, one opting to live in a lightless cave and another methodically setting out to recover total childhood innocence; an automaton discovers love and has to reinvent language to accommodate it; filial loyalty is seen as a dangerous weakness that must be drilled away; and the distance from a cubicle to the office coffee cart is refigured as an existential wasteland, requiring heroic effort. In these piercing, brilliantly observed investigations into human vulnerability and failure, it is often the most absurd and alien predicaments that capture the deepest truths. Surreal and tender, terrifying and life-affirming, Leaving the Sea is the work of an utterly unique writer at the height of his powers.What have you done? --I can say many nice things --The dark arts --Rollingwood --On not growing up --My views on the darkness --Watching mysteries with my mother --The loyalty protocol --The father costume --First love --Fear the morning --Origins of the family --Against attachment --Leaving the sea --The moors

    For Hemingway fans The Complete Short Stories is an invaluable treasury.

    An aging feudal landlord's household staff, the villagers who depend on his favor, and a network of relations near and far who have sought their fortune in the cities confront the advantages and constraints of station, the dissolution of old ways, and the shock of change. Mueenuddin bares—at times humorously, at times tragically—the complexities of Pakistani class and culture and presents a vivid picture of a time and a place, of the old powers and the new, as the Pakistani feudal order is undermined and transformed.

    Lewis and J.R.R. Tolkien inevitable.Now, in The Wind's Twelve Quarters, seventeen of her favorite stories reaffirm Ursula Le Guin as one of America's outstanding writers.CONTENTS:ForewordSemley's NecklaceApril in ParisThe MastersDarkness BoxThe Word of UnbindingThe Rule of NamesWinter's KingThe Good TripNine LivesThingsA Trip to the HeadVaster than Empires and More SlowThe Stars BelowThe Field of VisionDirection of the RoadThe Ones Who Walk Away from OmelasThe Day Before the Revolution

    Wystan Owen’s Other People’s Love Affairs, the people of Glass, a picturesque village on the rugged English coast, are haunted by longings and deeply held secrets, captive to pasts that remain as alive as the present. Each story takes us into the lives of characters reaching earnestly and often courageously for connection to the people they have loved. Owen observes their heartbreaks, their small triumphs, and their generous capacity for grace.A young nurse, reeling from the disappearance of her mother, forges an unlikely friendship with a local vagrant who might know why her mother vanished. A young boy is by turns dazzled and disillusioned by a trip to the circus with a family friend. A widower revisits the cinema where, as a teenager, he and an older woman had secret trysts that both thrilled and baffled him.  A woman is offered fragile, uneasy forgiveness for a cruel act from years ago. And in the title story, a shopkeeper’s vision of the woman she loved is upended by the startling revelation of a secret life. Surprising and powerful, these stories mark the debut of a remarkable new talent.Lovers of a Kind --At the Circus --Virginia's Birthday --A Romance --What Is Meant to Remain --A Bit of Fun --Housekeeper --The Patroness --Other People's Love Affairs --The Well Sister --

    Then an enigmatic young nanny named Missy introduces him to a world he never knew existed.

    In “Girl on Girl,” a high school freshman goes to disturbing lengths to help an old friend. An insatiable temptress pursues the one man she can’t have in “Meteorologist Dave Santana.” And in the title story, a long fraught friendship comes undone when three buddies get impossibly lost on a lake it is impossible to get lost on. In Diane Cook’s perilous worlds, the quotidian surface conceals an unexpected surreality that illuminates different facets of our curious, troubling, and bewildering behavior.Other stories explore situations pulled directly from the wild, imposing on human lives the danger, tension, and precariousness of the natural world: a pack of not-needed boys take refuge in a murky forest and compete against each other for their next meal; an alpha male is pursued through city streets by murderous rivals and desirous women; helpless newborns are snatched by a man who stalks them from their suburban yards. Through these characters Cook asks: What is at the root of our most heartless, selfish impulses? Why are people drawn together in such messy, complicated, needful ways? When the unexpected intrudes upon the routine, what do we discover about ourselves? As entertaining as it is dangerous, this accomplished collection explores the boundary between the wild and the civilized, where nature acts as a catalyst for human drama and lays bare our vulnerabilities, fears, and desires.

    In “Who Will Greet You at Home,” a National Magazine Award finalist for The New Yorker, A woman desperate for a child weaves one out of hair, with unsettling results. In “Wild,” a disastrous night out shifts a teenager and her Nigerian cousin onto uneasy common ground. In "The Future Looks Good," three generations of women are haunted by the ghosts of war, while in "Light," a father struggles to protect and empower the daughter he loves. And in the title story, in a world ravaged by flood and riven by class, experts have discovered how to "fix the equation of a person" - with rippling, unforeseen repercussions. Evocative, playful, subversive, and incredibly human, What It Means When a Man Falls from the Sky heralds the arrival of a prodigious talent with a remarkable career ahead of her.

    In her gothic visions of small-town America, Jackson, the author of such masterworks as The Haunting of Hill House and We Have Always Lived in the Castle, turns an ordinary world into a supernatural nightmare. This eclectic collection goes beyond her horror writing, revealing the full spectrum of her literary genius. In addition to Come Along with Me, Jackson's unfinished novel about the quirky inner life of a lonely widow, it features sixteen short stories and three lectures she delivered during her last years.