In dazzling language and startling images, Touré invents a place called Soul City, America’s most miraculous metropolis. In an astonishing array of voices and styles, The Portable Promised Land celebrates the most soulful corners of America while questioning the very nature of Blackness.Among Touré’s unforgettable characters are the Right Revren Daddy Love, Brooklyn’s favorite sexually wayward preacher (“A Hot Time at the Church of Kentucky Fried Souls and the Spectacular Final Sunday Sermon of the Right Revren Daddy Love”), a boy with magic Air Jordans that let him fly above the ball court (“Falcon Malone Can Fly No Mo”), a child who can disappear into Romare Bearden paintings (“Solomon’s Big Day: A Children’s Story”), mystified parents who discover their beloved little boy has somehow turned into a little Black Sambo (“The Sambomorphosis”), and Huggy Bear Jackson, whose 1983 Cadillac Cutlass Supreme custom convertible’s supernatural stereo plays only Stevie Wonder songs (“The Steviewondermobile”).With a fearlessness and style that recall the work of Langston Hughes and Ralph Ellison, Touré captures, through lyrical rhythms and relentless inventiveness, an America where magic can happen and Black is beautiful. The Portable Promised Land marks the entrance of a new and wildly compelling voice to American fiction.

    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.

    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

    . . an alphabet soup of -delight in language. Eat up."—Alice Sebold"Brilliant. Wildly inventive, profane, and hilarious."—Bret Easton EllisThe author of the acclaimed cult classic Dear Dead Person ("refreshing, nauseating, hilarious"—Kirkus) returns with this long-awaited collection of brilliantly written and outrageously imaginative short stories.Benjamin Weissman is the author of Dear Dead Person (High Risk/Serpent’s Tail, 1995). He is a contributing editor to Bomb Magazine and writes regularly for the contemporary art magazines Parkett and Artforum. A painter and a professor at Art Center College of Design and Otis College of the Arts, he now lives in Los Angeles.

    Propelled by a terrific instinct for storytelling, and concerned with the convolutions of modern love and the importance of place, this collection is about the battlefields-and fields of victory-that exist in seemingly harmless spaces, in kitchens and living rooms and cars. Set mostly in the American West, the stories feature small-town lawyers, ranchers, doctors, parents, and children, and explore the moral quandaries of love, family, and friendship. A ranch hand falls for a recent law school graduate who appears unexpectedly- and reluctantly-in his remote Montana town. A young father opens his door to find his dead grandmother standing on the front step. Two women weigh love and betrayal during an early snow. Throughout the book, Meloy examines the tensions between having and wanting, as her characters try to keep hold of opposing forces in their lives: innocence and experience, risk and stability, fidelity and desire.Knowing, sly, and bittersweet, Both Ways Is the Only Way I Want It confirms Maile Meloy's singular literary talent. Her lean, controlled prose, full of insight and unexpected poignancy, is the perfect complement to her powerfully moving storytelling.

    No fairy tale will ever seem quite the same again!Featuring writing from . . .Authors: Renée Ahdieh, Ameriie, Soman Chainani, Susan Dennard, Sarah Enni, Marissa Meyer, Cindy Pon, Victoria Schwab, Samantha Shannon, Adam Silvera, Andrew Smith, April Genevieve Tucholke, and Nicola YoonBookTubers: Benjamin Alderson (Benjaminoftomes), Sasha Alsberg (abookutopia), Whitney Atkinson (WhittyNovels), Tina Burke (ChristinaReadsYA blog and TheLushables), Catriona Feeney (LittleBookOwl), Jesse George (JessetheReader), Zoë Herdt (readbyzoe), Samantha Lane (Thoughts on Tomes), Sophia Lee (thebookbasement), Raeleen Lemay (padfootandprongs07), Regan Perusse (PeruseProject), Christine Riccio (polandbananasBOOKS), and Steph Sinclair & Kat Kennedy (Cuddlebuggery blog and channel).

    They are stories of yearning for more, and learning to live with what you have. Stories that show the imprint love leaves on us all.If you think you don't like short fiction, that a story can't have the depth or impact of a novel, then you haven't read Margo Lanagan. A writer this startling and this original doesn't come along very often. So for anyone who likes to be surprised, touched, unsettled, intrigued, or scared senseless, prepare to be dazzled by what a master storyteller can do in a few short pages.

    The use of metaphor is delicate and subtle; often the women are strong and capable and the men less so; shallow and selfish motives are exposed.The dates of these stories range from 1909 to 1986 and there are thirty in all. The ten stories which are already in print in Persephone editions of their work are by Katherine Mansfield, Irène Némirovsky, Mollie Panter-Downes (twice), Elizabeth Berridge, Dorothy Whipple, Frances Towers, Margaret Bonham, Diana Gardner and Diana Athill. The ten stories which have already been published in the Quarterly and Biannually are by EM Delafield; Dorothy Parker; Dorothy Whipple; Edith Wharton; Phyllis Bentley; Dorothy Canfield Fisher; Norah Hoult; Angelica Gibbs; Penelope Mortimer; and Georgina Hammick. And lastly the ten stories which are new are by Susan Glaspell, Pauline Smith, Malachi Whitaker, Betty Miller, Helen Hull, Kay Boyle, Shirley Jackson, Sylvia Townsend Warner, Elizabeth Spencer and Penelope Fitzgerald.

    

    M. Forster, by E. M. Forster. To purchase the entire book, please order ISBN 1417908599.

    Spanning several generations and transporting us to exotic locations in Europe, Asia, and America, this wise and exquisite story collection marks the debut of a gifted new voice in literature.

    Here, in one volume, are his masterpieces of mystery, terror, humor, and adventure, including stories such as The Tell-Tale Heart, The Cask of Amontillado, The Black Cat, The Masque of the Red Death, The Murders in the Rue Morgue, The Purloined Letter, and The Pit and the Pendulum, to name just a few, that defined American romanticism and secured Poe as one of the most enduring literary voices of the nineteenth century.

    These eleven stories showcase Kyle’s keen eye for character, her humor, and her uncanny grasp of the loneliness, selfishness, and longing that underlie female experience. In "Nine," a young girl given to exaggeration escapes a humiliating ninth birthday celebration with the help of her father’s new girlfriend. The dubious benefits of sleeping with one’s boss are revealed when a bookstore manager defends an employee from an irate customer in the hilarious "Sex Scenes from a Chain Bookstore." A raid on a neighbor’s meth lab strengthens the unlikely friendship between a solitary woman and a Goth teenage girl in "Boys and Girls Like You and Me." And in a notable exception to the rule, "Captain’s Club" features a boy whose devotion to a lonely woman transforms his cruise vacation.In moments electric with sudden harmony or ruthless indifference, the girls and women in this collection provoke, beguile, and entertain. Writing with remarkable tenderness and wisdom, Kyle gives us a collection radiant with bittersweet revelations and startling insights, and secures her reputation as a major young talent.

    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.

    And in the title story, a stunning meditation on imagination, memory, and loss, a middle-aged cancer patient walks into the woods to commit suicide, only to encounter a troubled young boy who, over the course of a fateful morning, gives the dying man a final chance to recall who he really is. A hapless, deluded owner of an antique store; two mothers struggling to do the right thing; a teenage girl whose idealism is challenged by a brutal brush with reality; a man tormented by a series of pharmaceutical experiments that force him to lust, to love, to kill—the unforgettable characters that populate the pages of Tenth of December are vividly and lovingly infused with Saunders' signature blend of exuberant prose, deep humanity, and stylistic innovation.Writing brilliantly and profoundly about class, sex, love, loss, work, despair, and war, Saunders cuts to the core of the contemporary experience. These stories take on the big questions and explore the fault lines of our own morality, delving into the questions of what makes us good and what makes us human.Unsettling, insightful, and hilarious, the stories in Tenth of December—through their manic energy, their focus on what is redeemable in human beings, and their generosity of spirit—not only entertain and delight; they fulfill Chekhov's dictum that art should "prepare us for tenderness."