Psychiatry, anthropology, theology--and literature--will never be the same.

    A stunning collection of new and rare stories by Gary Lutz, the celebrated author of Stories in the Worst Way and I Looked Alive.

    Walter tells the story of Matt Prior, who’s losing his job, his wife, his house, and his mind—until, all of a sudden, he discovers a way that he might just possibly be able to save it all . . . and have a pretty damn great time doing it.

     Published when she was only twenty-three and written while she was a student at Brown, Sleepwalking marks the beginning of Meg Wolitzer’s acclaimed career. Filled with her usual wisdom, compassion and insight, Sleepwalking tells the story of the three notorious “death girls,” so called on the Swarthmore campus because they dress in black and are each absorbed in the work and suicide of a different poet: Sylvia Plath, Anne Sexton, and Wolitzer’s creation Lucy Asher, a gifted writer who drowned herself at twenty-four. At night the death girls gather in a candlelit room to read their heroines’ work aloud. But an affair with Julian, an upperclassman, pushes sensitive , struggling Claire Danziger—she of the Lucy Asher obsession-–to consider to what degree her “death girl” identity is really who she is. As she grapples with her feelings for Julian, her own understanding of herself and her past begins to shift uncomfortably and even disturbingly. Finally, Claire takes drastic measures to confront the facts about herself that she has been avoiding for years.

    That time is the period between the two World Wars, and Barnes' novel unfolds in the decadent shadows of Europe's great cities, Paris, Berlin, and Vienna—a world in which the boundaries of class, religion, and sexuality are bold but surprisingly porous. The outsized characters who inhabit this world are some of the most memorable in all of fiction—there is Guido Volkbein, the Wandering Jew and son of a self-proclaimed baron; Robin Vote, the American expatriate who marries him and then engages in a series of affairs, first with Nora Flood and then with Jenny Petherbridge, driving all of her lovers to distraction with her passion for wandering alone in the night; and there is Dr. Matthew-Mighty-Grain-of-Salt-Dante-O'Connor, a transvestite and ostensible gynecologist, whose digressive speeches brim with fury, keen insights, and surprising allusions. Barnes' depiction of these characters and their relationships (Nora says, "A man is another person—a woman is yourself, caught as you turn in panic; on her mouth you kiss your own") has made the novel a landmark of feminist and lesbian literature. Most striking of all is Barnes' unparalleled stylistic innovation, which led T. S. Eliot to proclaim the book "so good a novel that only sensibilities trained on poetry can wholly appreciate it." Now with a new preface by Jeanette Winterson, Nightwood still crackles with the same electric charge it had on its first publication in 1936.

    A satiric edge, tempered by profound compassion, cuts through many of the poems in Lux’s book. While themes of intolerance, inhumanity, loss, and a deep sense of mortality mark these poems, a lighthearted grace instills even the somberest moments with unexpected sweetness. In the title poem Lux writes, “there’s no reason for God to feel guilt / I think He was downhearted, weary, too weary / to be angry anymore . . . / He wanted each of us, / and all the things we touch . . . / to have a tiny piece of Him / though we are unqualified, / of even the crumb of a crumb.” Dark, humorous, and strikingly imaginative, this is Lux’s most compassionate work to date.

    Fleeing boredom, bad marriages, and dead-end jobs, these adventurers wander south to Playa Paraiso—a lush, unspoiled village on Mexico’s idyllic Caribbean coast. There they find the unpredictable, hedonistic, and sometimes frightening world of the tropics.At the center of this extraordinary group is Poppa, the irreverent and savvy owner of the local beach bar. As he tries to make sense of his own vagabond existence, he offers his fellow expats booze, advice, and the occasional helping hand. It is Poppa who tells the tales of these intriguing runaways, as together they encounter true loves, vicious drug dealers, charming rogues, clueless do-gooders, and a devastating hurricane. Against a backdrop of stunning blue water and endless white sand, they experience the heart’s tug of war between the need for a place to call home and the desire for the freedom to roam.Author Anthony Lee Head is very familiar with the dream of living in paradise portrayed in Driftwood: Stories from the Margarita Road. After leaving a long career as a San Francisco trial lawyer, he moved to Playa del Carmen, Mexico where for ten years he ran a small hotel and margarita bar near the beach.Travelers, wanderers, explorers and dreamers alike will see themselves in these unforgettable characters, all the while craving an icy boat drink on a sprawling beach. But be careful: if you stick your feet in the sand and come along on this journey, you may not want to go home again."... Joseph Conrad collides with Jimmy Buffett in a journey through the dark heart of Mexico's Riviera Maya."~ Bob Calhoun, bestselling author and journalist"Truly wonderful and moving tales; the author is a writer to watch."~ Kirkus Reviews (starred review)"Beneath the 'palm and balmy breezes' tone, a deep, empathetic humanity affords each character and event vivid authenticity."~ Peter Coyote, bestselling author and actor

    Mashkawaji (they/them) lies frozen in the ice, remembering a long-ago time of hopeless connection and now finding freedom and solace in isolated suspension. They introduce us to the seven main characters: Akiwenzii, the old man who represents the narrator’s will; Ninaatig, the maple tree who represents their lungs; Mindimooyenh, the old woman who represents their conscience; Sabe, the giant who represents their marrow; Adik, the caribou who represents their nervous system; Asin, the human who represents their eyes and ears; and Lucy, the human who represents their brain. Each attempts to commune with the unnatural urban-settler world, a world of SpongeBob Band-Aids, Ziploc baggies, Fjällräven Kånken backpacks, and coffee mugs emblazoned with institutional logos. And each searches out the natural world, only to discover those pockets that still exist are owned, contained, counted, and consumed. Cut off from nature, the characters are cut off from their natural selves.Noopiming is Anishinaabemowin for “in the bush,” and the title is a response to English Canadian settler and author Susanna Moodie’s 1852 memoir Roughing It in the Bush. To read Simpson’s work is an act of decolonization, degentrification, and willful resistance to the perpetuation and dissemination of centuries-old colonial myth-making. It is a lived experience. It is a breaking open of the self to a world alive with people, animals, ancestors, and spirits, who are all busy with the daily labours of healing — healing not only themselves, but their individual pieces of the network, of the web that connects them all together. Enter and be changed.

    In this debut collection, she conjures the disturbing and often hilarious experience of adolescence through the eyes of Chinese American girls growing up in New York City. Her stories cut across generations and continents, moving from the fraught halls of a public school in Flushing, Queens, to the tumultuous streets of Shanghai, China, during the Cultural Revolution of the 1960s. In the absence of grown-ups, latchkey kids experiment on each other until one day the experiments turn violent; an overbearing mother abandons her artistic aspirations to come to America but relives her glory days through karaoke; and a shy loner struggles to master English so she can speak to God.Narrated by the daughters of Chinese immigrants who fled imperiled lives as artists back home only to struggle to stay afloat — dumpster diving for food and scamming Atlantic City casino buses to make a buck — these seven stories showcase Zhang's compassion and moral courage, and a perverse sense of humor reminiscent of Portnoy's Complaint. A darkly funny and intimate rendering of girlhood, Sour Heart examines what it means to belong to a family, to find your home, leave it, reject it, and return again.

    A Curtain of Green both introduced and established Eudora Welty as in instinctive genius of short fiction, and in this groundbreaking collection, which includes "Powerhouse" and "Keela, the Outcast Indian Maiden," are the first great works of a great American writer.

    With brilliant prose, terrific imagination, and dazzling literary skill, Mason creates alternative episodes, fragments, and revisions of Homer’s original that taken together open up this classic Greek myth to endless reverberating interpretations. The Lost Books of the Odyssey is punctuated with great wit, beauty, and playfulness; it is a daring literary page-turner that marks the emergence of an extraordinary new talent.

    In these and other powerful tales, children veer beyond their parents’ control, wives and husbands wake up to find that they hardly know each other, haunted pasts intrude upon uncertain futures, and those who bring us the most harm may be the nearest at hand.In ten razor-sharp stories, National Book Award winner Joyce Carol Oates shows that the most deadly mysteries often begin at home.

    A boy running for his life. A town defending them both.From award-winning USA TODAY Bestselling Author BETTE LEE CROSBY, the first book of a gritty, small-town, family saga in the tradition of the finest Southern fiction.Small-town gossip never much bothered Olivia Westerly. As a single career woman, she's weathered her share. It's easy to ignore the raised eyebrows over her late-in-life marriage to Charlie Doyle. But after he drops dead on their honeymoon, the whispers are salt on her raw grief. Especially when an orphaned, eleven-year-old-boy shows up on her doorstep, looking for the grandfather he never met.Behind Ethan Allen Doyle's wary blue eyes lie heavily guarded emotions that unexpectedly tug on Olivia's heart, and she finds herself wanting to win his trust. But when his murderous secret comes looking for him, the entire town embraces the lonely widow and desperate child to show its true heart when danger threatens one of its own.A heartwarming tale of love, loss and unexpected gifts, featuring a woman you'd like to call friend, a boy you will ache to hug, and a town you wish you could call home. USA TODAY BESTSELLER AND WINNER OF FIVE LITERARY AWARDS - Royal Palm Literary Award, Reviewer's Choice Award, FPA President's Book Award, IAN Outstanding Fiction Award, Eadon Contemporary Fiction Award

    In her final week of life, Vivienne treks through the Heavens of a priest, a best friend, a homeless child, and a lover who never was. Vivienne’s guardian angel, Noah, who may just be her soul mate, escorts her through selections of Heavens and through the confusion Vivienne experiences as she flounders between a doubt of life and the certainty of death. Although her visits to varied afterlives provide peace and beauty, choosing proves not so easy: Vivienne’s love for her young son and her earthly father pull her from her colorful journey—and from her divine love of Noah. The nature of love, the variety and magic of life, unending hope, and the importance of saying goodbye are central to this uplifting tale.

    Standard procedure. You pick it up the first time a white friend leads you across a room just to stand you up by another Indian, arrange you like furniture, like you should have something to say to each other. As one character after another tells it in these stories, much that happens to them does so because "I'm an Indian." And, as Stephen Graham Jones tells it in one remarkable story after another, the life of an Indian in modern America is as rich in irony as it is in tradition. A noted Blackfeet writer, Jones offers a nuanced and often biting look at the lives of Native peoples from the inside. A young Indian mans journey to discover America results in an unsettling understanding of relations between whites and Natives in the twenty-first century, a relationship still fueled by mistrust, stereotypes, and almost casual violence. A character waterproofs his boots with transmission fluid; another steals into Glacier National Park to hunt. One man uses watermelon to draw flies off poached deer; another, in a modern twist on the captivity narrative, kidnaps a white girl in a pickup truck; and a son bleeds into the father carrying him home. Rife with arresting and poignant images, fleeting and daring in presentation, weighty and provocative in their messages, these stories demonstrate the power of one of the most compelling writers in Native North America today.