Though officially unsolved, Jane’s murder was apparently the third in a series of seven brutal rape-murders in the area. Nelson was born a few years after Jane’s death, and the narrative is suffused with the long shadow her murder cast over both the family and her psyche.Jane explores the nature of this haunting incident via a collage of poetry, prose, and documentary sources, including newspapers, related "true crime" books, and fragments from Jane’s own diaries written. Each piece in Jane has its own form that serves as an important fissure, disrupting the tabloid, "page-turner" quality of the story, and eventually returning the reader to deeper questions about girlhood, empathy, identification, and the essentially unknowable aspects of another’s life and death. Part elegy, part memoir, detective story, part meditation on violence, and part conversation between the living and the dead, Jane’s powerful and disturbing subject matter, combined with its innovations in genre, expands the notion of what poetry can do—what kind of stories it can tell, and how it can tell them.

    Chaon mines the psychological landscape of his characters to dazzling effect. Each story radiates with sharp humor, mystery, wonder, and startling compassion. Among the Missing lingers in the mind through its subtle grace and power of language.

    But don't expect the usual fantasy backdrops-these stories will give you a frisson, a thrill, as they fizz off the page. They are extraordinary characters living outside the bounds of reality. But you will recognize them... It's about being gay, being straight, falling in love, sorrowful partings, death, and fantastic circumstances. Bending the Landscape stretches the standard fantasy genre.

    A collection of stories by Sandra Cisneros, the winner of the 2019 PEN/Nabokov Award for Achievement in International Literature.The lovingly drawn characters of these stories give voice to the vibrant and varied life on both sides of the Mexican border with tales of pure discovery, filled with moments of infinite and intimate wisdom.

    Brought together in this volume, these stories represent an unprecedented accomplishment in American literature. In their iconoclasm and needle-sharp irony, their formal and thematic ingenuity and element of surprise, they differ markedly from the fiction admired in Bierce's time. Readers familiar with the classic An Occurrence at Owl Creek Bridge will want to turn to Bierce's other Civil War stories. Also included here are his horror stories, among them The Death of Halpin Frayser and The Damned Thing, and such tall tales as Oil of Dog and A Cargo of Cat.

    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

    Here, Vollmann's gritty style perfectly serves his examination of sex, violence, and corruption.

    In "Blythe," an attorney who has become a stay-at-home mother takes a night class in poetry and meets another full-time mother, one whose charismatic brilliance changes everything. In "The Wife of the Dictator," that eponymous wife ("brought back . . . from [the dictator's] last visit to America") grows more desperately, menacingly isolated every day. In "Delicate Edible Birds," a group of war correspondents--a lone, high-spirited woman among them--falls sudden prey to a brutal farmer while fleeing Nazis in the French countryside. In "Lucky Chow Fun," Groff returns us to Templeton, the setting of her first book, for revelations about the darkness within even that idyllic small town. In some of these stories, enormous changes happen in an instant. In others, transformations occur across a lifetime--or several lifetimes. Throughout the collection, Groff displays particular and vivid preoccupations. Crime is a motif--sex crimes, a possible murder, crimes of the heart. Love troubles recur--they're in every story--love in alcoholism, in adultery, in a flood, even in the great flu epidemic of 1918. Some of the love has depths, which are understood too late; some of the love is shallow, and also understood too late. And mastery is a theme--Groff's women swim and baton twirl, become poets, or try and try again to achieve the inner strength to exercise personal freedom. Overall, these stories announce a notable new literary master. Dazzlingly original and confident, Delicate Edible Birds further solidifies Groff's reputation as one of the foremost talents of her generation.

    Dogs, birds, horses, automobiles, and the weather are some of the recycled elements in Marcus's first collection—part fiction, part handbook—as familiar objects take on markedly unfamiliar meanings. Gradually, this makeshift world, in its defiance of the laws of physics and language, finds a foundation in its own implausibility, as Marcus produces new feelings and sensations—both comic and disturbing—in the definitive guide to an unpredictable yet exhilarating plane of existence.

    As prolific as he was unclassifiable, James Purdy was considered one of the greatest—and most underappreciated—writers in America in the latter half of the twentieth century. Championed by writers as diverse as Dame Edith Sitwell, Gore Vidal, Paul Bowles, Tennessee Williams, Carl Van Vechten, John Cowper Powys, and Dorothy Parker, Purdy’s vast body of work has heretofore been relegated to the avant-garde fringes of the American literary mainstream.His unique form and variety of style made the Ohio-born Purdy impossible to categorize in standard terms, though his unique, mercurial talent garnered him a following of loyal readers and made him—in the words of Susan Sontag—“one of the half dozen or so living American writers worth taking seriously." Purdy’s journey to recognition came with as much outrage and condemnation as it did lavish praise and lasting admiration. Some early assessments even dismissed his work as that of a disturbed mind, while others acclaimed the very same work as healing and transformative. Purdy's fiction was considered so uniquely unsettling that his first book, Don't Call Me by My Right Name, a collection of short stories all reprinted in this edition, had to be printed privately in the United States in 1956, after first being published in England.Best known for his novels Malcolm, Cabot Wright Begins, Jeremy's Version, and Eustace Chisholm and the Works, Purdy captured an America that was at once highly realistic and deeply symbolic, a landscape filled with social outcasts living in crisis and longing for love, characterized by his dark sense of humor and unflinching eye. Love, disillusionment, the collapse of the family, ecstatic longing, sharp inner pain, and shocking eruptions of violence pervade the lives of his characters in stories that anticipate both "David Lynch and Desperate Housewives" (Guardian). In "Color of Darkness," for example, a lonely child attempts to swallow his father's wedding ring; in "Eventide," the anguish of two sisters over the loss of their sons is deeply felt in the summer heat; and in the gothic horror of "Mr. Evening," a young man is hypnotized and imprisoned by a predatory old woman. These stories and many others, both haunting and hilarious, form a canvas of deep desperation and immanent sympathy, as Purdy narrates "the inexorable progress toward disaster in such a way that it's as satisfying and somehow life-affirming as progress toward a happy ending" (Jonathan Franzen).It may have taken over fifty years, but American culture is finally in sync with James Purdy. As John Waters writes in his introduction, Purdy, far from the fringe, has "been dead center in the black little hearts of provocateur-hungry readers like myself right from the beginning."

    Based loosely on the author's own life, the book follows a young bohemian woman, Margaret Sargent, through her experiences and lost loves in a time of coming war.

    S. Malerich's The Factory Witches of Lowell is a riveting historical fantasy about witches going on strike in the historical mill-town of Lowell, Massachusetts.Faced with abominable working conditions, unsympathetic owners, and hard-hearted managers, the mill girls of Lowell have had enough. They're going on strike, and they have a secret weapon on their side: a little witchcraft to ensure that no one leaves the picket line.For the young women of Lowell, Massachusetts, freedom means fair wages for fair work, decent room and board, and a chance to escape the cotton mills before lint stops up their lungs. When the Boston owners decide to raise the workers’ rent, the girls go on strike. Their ringleader is Judith Whittier, a newcomer to Lowell but not to class warfare. Judith has already seen one strike fold and she doesn’t intend to see it again. Fortunately Hannah, her best friend in the boardinghouse—and maybe first love?—has a gift for the dying art of witchcraft.At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

    Armed with wit, a pencil-thin mustache, and a cardboard sign that reads "I’m Not Psycho," he hitchhikes across America from Baltimore to San Francisco, braving lonely roads and treacherous drivers. But who should we be more worried about, the delicate film director with genteel manners or the unsuspecting travelers transporting the Pope of Trash?Before he leaves for this bizarre adventure, Waters fantasizes about the best and worst possible scenarios: a friendly drug dealer hands over piles of cash to finance films with no questions asked, a demolition-derby driver makes a filthy sexual request in the middle of a race, a gun-toting drunk terrorizes and holds him hostage, and a Kansas vice squad entraps and throws him in jail. So what really happens when this cult legend sticks out his thumb and faces the open road?

    The Professor and Other Writings is a hilarious and heartbreaking exploration of gender, identity, and sexuality in the grand tradition of such feminist luminaries as Susan Sontag, Camille Paglia, and Joan Didion.

    It was an anthology of erotic comics, with contributions from some of the best and the brightest creators. There were three issues, and they were AWESOME. But that was it. The third Smut Peddler mini was followed by a years-long publishing hiatus...UNTIL NOW.