A student plagiarizes a paper and holds fast to her alibi until she finds herself complicit in the resurrection of one professor's shadowy past. A dinner party becomes the occasion for the dissolution of more than one marriage. A woman is hired to find a wife for the one true soulmate she's ever found. In all, Rebecca Lee traverses the terrain of infidelity, obligation, sacrifice, jealousy, and yet finally, optimism. Showing people at their most vulnerable, Lee creates characters so wonderfully flawed, so driven by their desire, so compelled to make sense of their human condition, that it's impossible not to feel for them when their fragile belief in romantic love, domestic bliss, or academic seclusion fails to provide them with the sort of force field they'd expected.

    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.

    Included here are such classics as REMEMBERING NEEDLEMAN, THE KUGELMASS EPISODE, a new story called CONFESSIONS OF A BUGLAR, and more.

    Arranged chronologically, the forty-nine stories, when taken together with the memoir of his father that serves as a preface, not only establish Williams as a major American fiction writer of the twentieth century, but also, in Gore Vidal’s view, constitute the real autobiography of Williams’ "art and inner life."

     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.

    As the children of refugees carve out radical new paths for themselves in California, they shoulder the inherited weight of the Khmer Rouge genocide and grapple with the complexities of race, sexuality, friendship, and family.A high school badminton coach and failing grocery store owner tries to relive his glory days by beating a rising star teenage player. Two drunken brothers attend a wedding afterparty and hatch a plan to expose their shady uncle’s snubbing of the bride and groom. A queer love affair sparks between an older tech entrepreneur trying to launch a “safe space” app and a disillusioned young teacher obsessed with Moby-Dick. And in the sweeping final story, a nine-year-old child learns that his mother survived a racist school shooter.With nuanced emotional precision, gritty humor, and compassionate insight into the intimacy of queer and immigrant communities, the stories in Afterparties deliver an explosive introduction to the work of Anthony Veasna So.

    Thirteen darkly comic stories, Dangerous Laughter is a mesmerizing journey that stretches the boundaries of the ordinary world.

    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.

    Jean Stafford communicates the small details of loneliness and connection, the search for freedom and the desire to belong, that not only illuminate whole lives but also convey with an elegant economy of words the sense of the place and time in which her protagonists find themselves. This volume also includes the acclaimed story "An Influx of Poets," which has never before appeared in book form.

    While he has garnered acclaim as a novelist, Bellow's shorter works prove equally strong. Primarily set in a sepia-toned Chicago, characters (mostly men) deal with family issues, desires, memories, and failings--often arriving at humorous if not comic situations. In the process, these quirky and wholly real characters examine human nature. The narrative is straightforward, with deftly handled shifts in time, and the prose is concise, sometimes pithy, with equal parts humor and grace. In "Looking for Mr. Green," Bellow describes a relief worker sized up by tenants: "They must have realized that he was not a college boy employed afternoons by a bill collector, trying foxily to pass for a relief clerk, recognized that he was an older man who knew himself what need was, who had more than an average seasoning in hardship. It was evident enough if you looked at the marks under his eyes and at the sides of his mouth." This collection should appeal both to those familiar with Bellow's work and to those seeking an introduction. --Michael Ferch

    A female sheriff in a flooded town attempts to cover up a murder. When a farmer harvesting a field accidentally runs over his son, his grief sets him off walking, mile after mile. A band of teens bent on destruction runs amok in a deserted town at night. As these men and women lash out at the inscrutable churn of the world around them, they find a grim measure of peace in their solitude.Throughout Volt, Alan Heathcock's stark realism is leavened by a lyric energy that matches the brutality of the surface. And as you move through the wind-lashed landscape of these stories, faint signs of hope appear underfoot. In Volt, the work of a writer who's hell-bent on wrenching out whatever beauty this savage world has to offer, Heathcock's tales of lives set afire light up the sky like signal flares touched off in a moment of desperation.

    In 'The Life and Times of Estelle Walks Above', an intellectual feminist Spokane Indian woman saves the lives of dozens of white women all around her, to the bewilderment of her only child. In 'Do You Know Where I Am?' two college sweethearts rescue a lost cat - a simple act that has profound moral consequences for the rest of their lives together. In 'What You Pawn I Will Redeem', a homeless Indian man must raise $1,000 in twenty-four hours to buy back the fancy dance outfit stolen from his grandmother fifty years earlier.Even as they often make us laugh, Sherman Alexie's stories are driven by a haunting lyricism and naked candour that cut to the heart of the human experience.

    It remains as fresh as when it was first published.

    In "When She is Old and I Am Famous" a young woman confronts the inscrutable power of her cousin's beauty. In "Note to Sixth-Grade Self" a band of popular girls exerts its social power over an awkward outcast. In "Isabel Fish" fourteen-year-old Maddy learns to scuba dive in order to mend her family after a terrible accident. Alive with the victories, humiliations, and tragedies of youth, How to Breathe Underwater illuminates this powerful territory with striking grace and intelligence.

    A joke at first; but then he was caught up, terrifyingly, in a vision of suffering, and he sought a way out, turning first here, then there—Art, Sex, Religion. Shrike, the cynical editor, the friend and enemy, compulsively destroyed each of his friend’s gestures toward idealism. Together, in the city’s dim underworld, Shrike and Miss Lonelyhearts turn round and round in a loathsome dance, unresolvable, hating until death…The Day of the LocustTo Hollywood comes Tod Hackett, hoping for a career in scene designing, but he finds the way hard and falls in with others—extras, technicians, old vaudeville hands—who are also in difficulty. Around him he sees the great mass of inland Americans who have retired to California in expectation of health and ease. But boredom consumes them, their own emptiness maddens them; they search out any abnormality in their lust for excitement—drugs, perversion, crime. In the end only blood will serve; unreasoned, undirected violence. The day of the locust is at hand…