Taking place in a small Midwestern town in America, it offers chilling insights into the mind of a killer and the obsession of the man bringing him to justice. Also in this volume are six short stories and seven ‘conversational portraits’ including a touching one of Marilyn Monroe, the ‘beautiful child’ and a hilarious one of a dope-smoking cleaning lady doing her rounds in New York.

    This translation of his 1989 novel Nostalgia, writes Andrei Codrescu, "introduces to English a writer who has always had a place reserved for him in a constellation that includes the Brothers Grimm, Franz Kafka, Jorge Luis Borges, Bruno Schulz, Julio Cortazar, Gabriel Garcia Marquez, Milan Kundera, and Milorad Pavic, to mention just a few." Like most of his literary contemporaries of the avant-garde Eighties Generation, his major work has been translated into several European languages, with the notable exception, until now, of English.Readers opening the pages of Nostalgia should brace themselves for a verbal tidal wave of the imagination that will wash away previous ideas of what a novel is or ought to be. Although each of its five chapters is separate and stands alone, a thematic, even mesmeric harmony finds itself in children's games, the music of the spheres, humankind's primordial myth-making, the origins of the universe, and in the dilapidated tenement blocks of an apocalyptic Bucharest during the years of communist dictatorship.

    Rehash national icons: the truth about racial riot fodder-girl Maria Hertogh living out her days as a chambermaid in Lake Tahoe, a mirage of the Merlion as a ladyboy working Orchard Towers, and a high-stakes fantasy starring the still-suave lead of the 1990s TV hit serial The Unbeatables.Heartfelt and sexy, the stories of Amanda Lee Koe encompass a skewed world fraught with prestige anxiety, moral relativism, sexual frankness, and the improbable necessity of human connection. Told in strikingly original prose, these are fictions that plough, relentlessly, the possibilities of understanding Singapore and her denizens discursively, off-centre. Ministry of Moral Panic is an extraordinary debut collection and the introduction of a revelatory new voice.

    Unpredictable, daring, and highly controlled, yet somehow haywire, a Bolano story might concern an elusive plagiarist, or an elderly lawyer giving up city life for an improbable return to the family estate, now gone to wrack and ruin. Bolano's stories have been applauded as "bleakly luminous and perfectly calibrated" (Publishers Weekly) and"complex and provocative" (International Herald Tribune), and as Francine Prose said in The New York Times Book Review, "something extraordinarily beautiful and (at least to me) entirely new." Two fascinating essays are also included.

    In these stories, reminiscent of Shirley Jackson and Julio Cortázar, three young friends distract themselves with drugs and pain in the midst a government-enforced blackout; a girl with nothing to lose steps into an abandoned house and never comes back out; to protest a viral form of domestic violence, a group of women set themselves on fire. But alongside the black magic and disturbing disappearances, these stories are fueled by compassion for the frightened and the lost, ultimately bringing these characters—mothers and daughters, husbands and wives—into a surprisingly familiar reality. Written in hypnotic prose that gives grace to the grotesque, Things We Lost in the Fire is a powerful exploration of what happens when our darkest desires are left to roam unchecked, and signals the arrival of an astonishing and necessary voice in contemporary fiction.

    With the grit of Raymond Carver, the humor of Grace Paley, and a blend of wit and melancholy all her own, Berlin crafts miracles from the everyday, uncovering moments of grace in the laundromats and halfway houses of the American Southwest, in the homes of the Bay Area upper class, among switchboard operators and struggling mothers, hitchhikers and bad Christians. Readers will revel in this remarkable collection from a master of the form and wonder how they'd ever overlooked her in the first place.

    Whether he writes a gothic morality tale in which a male exotic dancer is haunted by his maiden aunt from beyond the grave, or about a self-help guru who tells his followers his mission is to discover who's been "crapping in your oatmeal," Saunders's stories are both indelibly strange and vividly real.

    Samanta Schweblin haunts and mesmerizes in this extraordinary, masterful collection.Schweblin's stories have the feel of a sleepless night, where every shadow and bump in the dark take on huge implications, leaving your pulse racing, and the line between the real and the strange blur.

    In a fit of preemptive grief and magical thinking, she sets out for a hike in the Galilee, leaving no forwarding information for the “notifiers” who might darken her door with the worst possible news. Recently estranged from her husband, Ilan, she drags along an unlikely companion: their former best friend and her former lover Avram, once a brilliant artistic spirit. Avram served in the army alongside Ilan when they were young, but their lives were forever changed one weekend when the two jokingly had Ora draw lots to see which of them would get the few days’ leave being offered by their commander—a chance act that sent Avram into Egpyt and the Yom Kippur War, where he was brutally tortured as POW. In the aftermath, a virtual hermit, he refused to keep in touch with the family and has never met the boy. Now, as Ora and Avram sleep out in the hills, ford rivers, and cross valleys, avoiding all news from the front, she gives him the gift of Ofer, word by word; she supplies the whole story of her motherhood, a retelling that keeps Ofer very much alive for Ora and for the reader, and opens Avram to human bonds undreamed of in his broken world. Their walk has a “war and peace” rhythm, as their conversation places the most hideous trials of war next to the joys and anguish of raising children. Never have we seen so clearly the reality and surreality of daily life in Israel, the currents of ambivalence about war within one household, and the burdens that fall on each generation anew. Grossman’s rich imagining of a family in love and crisis makes for one of the great antiwar novels of our time.

    In the pared-down style that has since become his hallmark, Carver showed us how humour and tragedy dwelt in the hearts of ordinary people, and won a readership that grew with every subsequent brilliant collection of stories, poems and essays that appeared in the last eleven years of his life.

    Passions hopelessly conceived, affections betrayed, marriages made and broken: the joys, fears, loves and awakenings of women echo throughout these twelve unforgettable stories, laying bare the unexceptional and yet inescapable pain of human contact.

    A professor arrives in a beautiful Spanish village only to find that her host has left and she must cope with fractious neighbours alone; a holiday on a Finnish Island is thrown into disarray when a disconcerting young boy arrives; an artist returns to an old flat to discover that her life has been eerily usurped. Philosophical and profound, but with the deceptive lightness that is her hallmark, 'Travelling Light' is guaranteed to surprise and transport.

    Her body lies nameless in a hospital morgue. She had apparently worked as a cleaning woman at a bakery, but there is no record of her employment. When a Jerusalem daily accuses the bakery of "gross negligence and inhumanity toward an employee," the bakery's owner, overwhelmed by guilt, entrusts the task of identifying and burying the victim to a human resources man. This man is at first reluctant to take on the job, but as the facts of the woman's life take shape-she was an engineer from the former Soviet Union, a non-Jew on a religious pilgrimage to Jerusalem, and, judging by an early photograph, beautiful-he yields to feelings of regret, atonement, and even love.At once profoundly serious and highly entertaining, A. B. Yehoshua astonishes us with his masterly, often unexpected turns in the story and with his ability to get under the skin and into the soul of Israel today.

    explores themes of time, healing and fate, and how her urban, sophisticated, independent young men and women come to terms with them. The stories are a blend of traditional Japanese and contemporary popular culture.

      The title story, inspired by Raymond Carver’s masterpiece, is a provocative portrait of two marriages in which the Holocaust is played out as a devastating parlor game. In the outlandishly dark “Camp Sundown” vigilante justice is undertaken by a group of geriatric campers in a bucolic summer enclave. “Free Fruit for Young Widows” is a small, sharp study in evil, lovingly told by a father to a son. “Sister Hills” chronicles the history of Israel’s settlements from the eve of the Yom Kippur War through the present, a political fable constructed around the tale of two mothers who strike a terrible bargain to save a child. Marking a return to two of Englander’s classic themes, “Peep Show” and “How We Avenged the Blums” wrestle with sexual longing and ingenuity in the face of adversity and peril. And “Everything I Know About My Family on My Mother’s Side” is suffused with an intimacy and tenderness that break new ground for a writer who seems constantly to be expanding the parameters of what he can achieve in the short form.   Beautiful and courageous, funny and achingly sad, Englander’s work is a revelation.